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AIN'T WHISTLIN' DIXIE
Screenplay and Story by
Jack Stone
FADE IN:
EXT. SAD OLD HOME - EARLY MORNING
It's a cold and dewy winter morning somewhere in southern
Mississippi. The sun is just beginning to rise on the
horizon. The ground is covered in a fresh blanket of white
snow.
Christmas lights are still flashing on the front of a sad old
home. A faded plastic Santa and reindeer are on the roof.
On the front window there is a bright red and green banner
proclaiming, Merry Christmas To All!
A rooster is crowing somewhere in the distance.
INT. SAD OLD HOME/BOY'S BEDROOM - EARLY MORNING
Two small boys are sleeping in the same bed. JOHN-JOHN (9)
wakes his younger brother BEN (7).
JOHN-JOHN
Wake up. Ben, wake up. C'mon, let's go.
Ben yawns, wipes the sleep from his eyes and suddenly
realizes what day it is.
Jumping from the bed, the two boys race down a small hallway
to see what Santa has left them for Christmas. The family
room is adorned in all the pitiful, yet colorful decorations
of this festive season.
INT. SAD OLD HOME/LIVING ROOM - CONTINUOUS
The boys stand in awe at the brightly wrapped gifts that sit
under the decorated Christmas tree. A pitiable, worn out
star sits shining atop the Christmas tree.
BEN
(incredibly excited)
Look at all this stuff John-John. Oh-
boy! Oh-boy!
JOHN-JOHN
Santa!
BEN
(playing with one of the
Christmas lights on the tree)
We oughta wake up Momma and see if we can
get to openin' this stuff up!
INT. SAD OLD HOME/HALLWAY - CONTINUOUS
The boys run back down the hallway and into their parents
bedroom. The boys father is asleep in the bed.
INT. SAD OLD HOME/MOMMA'S BEDROOM - CONTINUOUS
MOMMA, (28) is an attractive, bleached blonde woman born and
raised in the south.
MOMMA
(whispering)
You boys get on out of here before you
wake up your father.
BEN
(whispering and overly excited)
Momma, Santa Claus was here and he left
us a whole lotta things to open. C'mon.
C'mon.
The boys are extremely excited now. Ben does a little dance.
He pulls Momma by the hand out of the bedroom and toward the
living room.
As Momma appears from the shadows of the bedroom. She's
putting on a bathrobe and sporting a severe black eye that's
been there for some time. She's nervous and it oozes from
her every movement.
JOHNNY SR., (late 30's) a middle aged, dark haired greaser,
begins to toss in the bed.
Momma looks back toward her husband and tries to disguise the
look of fear and concern that fills her eyes.
The happy faced little boys continue to pull their mother
down the hall.
INT. SAD OLD HOME/LIVING ROOM - MORNING
Ben turns an old transistor radio on that is sitting on a
worn out coffee table. A DISC JOCKEY speaks:
DISC JOCKEY (V.O.)
Seasons greetin's to y'all out there in
radio land.
Merry Christmas and a Happy New Year to
everyone! This here next little diddy is
dedicated to all you good ol' boys and
gals on this'n here beautiful Christmas
mornin'. Hey folks, did Santa Claus come
to town?
Santa Claus Is Coming To Town, begins to play over the radio
airwaves.
Ben jumps up and begins to do his excited dance.
John-John is at the Christmas tree sorting out the gifts.
JOHN-JOHN
This one's for you Ben!
MOMMA
(quietly)
Turn that thing down. You'll wake your
father.
JOHN-JOHN
Do what Momma said.
Ben reaches over and turns down the radio.
John-John hands Ben one of his wrapped gifts.
The sound of a refrigerator door opening and fingers rustling
through an ice tray is heard.
The boys eyes dart toward the kitchen.
Ice drops into a glass, liquid pours over the ice and it
begins to crack.
John-John hands a gift to Momma.
JOHN-JOHN (CONT'D)
Momma, this one's for you.
Momma bends and kisses John-John's cheek.
MOMMA
Why, thank you my precious li'l darlin'.
The sound of ice chiming in a glass draws nearer to the room.
Johnny Sr. steps from the shadow of the kitchen doorway
holding a glass and a bottle of booze. He's reeling, bitter
and exceedingly sarcastic as he slams down a swig of his
devil poison.
The room goes silent.
JOHNNY SR.
Ho! Ho! Ho! And a merry f'n Christmas
to ya'll too.
If looks could kill John-John's old man would drop right on
the spot.
Momma kisses her husband on the cheek apprehensively.
MOMMA
Mornin' honey. I'll get you your cup of
coffee.
She exits the living room and enters the kitchen.
Johnny Sr. stumbles across the room moving the boys unopened
gifts out of his way with every step. Ben stops opening the
gift he holds. He's frozen in fear.
As Johnny Sr. reaches Ben, he takes the half opened gift from
the boy and sits down, holding it in his lap.
JOHNNY SR.
Well, let's see what Santa brought you
for Christmas boy.
He opens Ben's gift. It's a toy fire engine.
JOHNNY SR. (CONT'D)
What kinda fire to do expect to put out
with just a toy? Boy!
John-John hands Ben another gift as he glares at his father.
JOHN-JOHN
Here's another one for you Ben.
Momma enters the room with a cup of coffee. She attempts to
hand it to Johnny Sr. He ignores her. She cautiously puts
it on the coffee table.
JOHNNY SR.
Where the hell you get the money for all
this junk?
MOMMA
Sam, he wanted the kids to have a good
Christmas.
JOHNNY SR.
Correct me if I'm wrong but, I thought I
told you to stay clear of Tarbell?
MOMMA
Please, honey not today.
He sets the bottle of booze on the coffee table.
JOHNNY SR.
When I ask a question I expect an answer.
JOHN-JOHN
You leave Momma alone. Santa brought us
them presents.
JOHNNY SR.
(to John-John)
Children are to be seen and not heard.
BEN
(quietly)
Don't worry John-John he ain't gonna do
nothin'. Not today. Not on the Lord's
day.
JOHNNY SR.
(to Momma)
Woman, I asked you a question?
MOMMA
It's already been taken care of, just let
it go.
Johnny Sr. lets the fire engine drop onto the floor.
JOHNNY SR.
(mocking)
It's already been taken care of.
He stands and steps onto the fire engine, crushing it under
his heel.
MOMMA
Please, Johnny let it alone. Just this
once. It's Christmas.
JOHNNY SR.
I'll show Ôem what they get for
Christmas.
He steps on one of the wrapped gifts. The sound of a squeaky
toy comes from the smashed package.
Momma intervenes.
MOMMA
Please, Johnny!
He continues to smash packages with his feet.
John-John runs over to his father and begins to kick, punch
and push him. The boy is flailing wildly as his father
continues to stomp on the gifts.
JOHN-JOHN
You gotta ruin everything.
Johnny Sr. pushes the boy down.
MOMMA
Johnny, please! Please, don't.
Momma rushes in and attempts to restrain her husband. Johnny
Sr. grabs her by the hair and smacks her in the face.
JOHNNY SR.
Woman, don't you ever lay your hands on
me.
Momma tumbles into the Christmas tree. She's knocked
unconscious as the tree falls over.
BEN
Momma!
Ben begins to cry softly.
JOHNNY SR.
(turns to Ben)
I'll give you somethin' to cry about.
Ben runs to hide behind the curtain.
Johnny Sr. rips the curtain rod from the wall. Ben stands
frozen in fear once again.
John-John steps in front of Ben in a protective and defiant
posture. Johnny Sr. bends to his knees until he's face to
face with the boys.
JOHN-JOHN
I ain't afraid of you.
JOHNNY SR.
(to John-John)
When I get back, you kids better have
this mess cleaned up.
(to Ben)
Or I'll really give you somethin' to cry
about.
Johnny Sr. turns to exit.
Ben rushes toward Johnny Sr. and grabs at his pant leg.
BEN
Daddy! Momma, she's hurt.
Johnny Sr., (while opening a squeaking screen door) grabs Ben
by the face and pushes him back hard. The screen door slams
shut behind him.
Ben falls back hitting his head on the coffee table and is
knocked unconscious. The bottle of booze falls, spilling and
spreading across the floor until it reaches the fire place.
The flames shoot back immediately and begins to consume Ben.
John-John grabs the torn curtain, runs to Ben and struggles
to put out the flames.
EXT. SAD OLD HOME - CONTINUOUS
Johnny Sr.' in his old truck, he turns the key in the
ignition and the radio blasts a country tune, drowning out
the screams of his little boy.
He slams the truck into drive and it surges forward.
INT. SAD OLD HOME/LIVING ROOM - CONTINUOUS
The fire swiftly becomes a raging inferno throughout the
house.
John-John runs to the window.
The old trucks image reflects in the window as it pulls away.
JOHN-JOHN
(shouting)
Daddy!
John-John runs to Momma and tugs at her robe.
JOHN-JOHN (CONT'D)
Momma, get up. Momma, get up!
John-John tries to pull his mother out of the house. She's
too heavy. He turns to his brother Ben. Struggling, John-
John manages to drag him out of the burning home.
EXT. SAD OLD HOME - CONTINUOUS
The home is now completely engulfed in flames.
Johnny Sr.' old truck is in the distance as it roles down the
snow covered dirt road.
Overwhelmed, John-John trips as he pulls his brother toward
safety. Ben falls into his lap.
John-John stares in disbelief at the home that was once his.
JOHN-JOHN
(teary-eyed and shouting)
Momma. Momma.
The plastic Santa and Reindeer melt into the roof as some of
the Christmas lights continue to blink on the exterior of the
home. Other bulbs burst from the heat of the flames.
Nearby NEIGHBORS arrive too late. Their silent gaze says
more than words.
John-John stares into the fire.
The flames from the burning home are flickering in his eyes
as tears stream down his face.
JOHN-JOHN (CONT'D)
Them kids was right. There ain't no such
thing as Santa.
DISSOLVE TO:
INT. ACES 'N' EIGHTS - NIGHT
The flame from a lighter that is lighting a cigarette burns
in a twenty year older John-John's eye's. The cigarette
smoke drifts across his face.
The Hank William's song, Your Cheatin' Heart is playing on
the jukebox.
John-John's sitting in a crowded, country style bar where he
has been drinking for quite some time. The bar is filled
with empty beer bottles and cans.
BUDDY a feeble and mindless country boy with good intention
is small talking with John-John.
BUDDY (V.O.)
She ain't no good Johnny. I'm tellin' ya
she just ain't never gonna be no good.
Why do you wanna waste your time on a
woman what's already been with half the
damn county.
JOHN-JOHN
It don't matter now. I just don't
understand why Charlie would go and do a
darn fool thing like that. Anybody else,
but Charlie...
He's shaking his head in disappointment.
EXT. ACES 'N' EIGHTS - NIGHT
John-John sits in his truck. To his surprise a giggling
BECKI, a sweet little vixen leaves the bar arm in arm with
CHARLIE, who has a guitar slung over his shoulder.
Charlie gives Becki a good whack on the ass. This eats into
John-John as he watches Becki playfully jump into the driver
side of Charlie's souped up hot rod. She scoots over and
Charlie enters.
They drive off.
John-John punches the steering wheel of his car.
INT. ACES 'N' EIGHTS - CONTINUOUS
Returning to the bar conversation.
JOHN-JOHN
The way I figure it, the only one I got
left is my big little brother Ben. You
know he's like a trusty old antique
stopwatch. Whenever I see him he gets
all wound up. Big Ben!
BUDDY
Well, Ben's kin. But Becki... She ain't
never been no good for you. If I was you
I'da smacked the taste right out of her
mouth a long time ago.
JOHN-JOHN
Let me tell you somethin' 'bout women you
don't understand. I'm gonna teach you
somethin' here. Some women are good and
some are bad. And some men like them to
be bad as hell. If you know what I mean!
Sorta like the punishment we deserve for
thinkin' we can ever own 'em. Then there
are those who prefer women to be all
messed up so's they can manipulate and
control 'em.
BUDDY
Yeah I'll have to agree with you there
but...
JOHN-JOHN
(interrupting)
Let me finish what I was gettin' at.
BUDDY
I'da knocked 'em both into next week.
JOHN-JOHN
That's one difference between you and me.
I could never hit a woman.
Their conversation is interrupted by TWO GOOD OLD BOYS that
look like your average auto mechanics. They're arguing
directly behind Johnny and Buddy over a dollar bet on a pool
game.
FELLER ONE
You didn't call that shot.
FELLER TWO
You callin' me a polecat? You sayin' I'm
a liar?
FELLER ONE
I'm sayin' you didn't call that shot.
JOHN-JOHN
Scuse me. We'z talkin' over here and
y'all is interruptin' our conversation.
FELLER ONE
Well, excuse me J.J.
JOHN-JOHN
Thank you kindly.
The good old boys have a good laugh at his expense.
JOHN-JOHN (CONT'D)
Anyways, like I was sayin'...
The fools start up again.
FELLER ONE
Ooow. Don't mess with J.J. He's a loose
cannon. He's got a reputation bigger
than the state of Texas.
FELLER TWO
His gal's got quite a reputation
herself.
The fools laugh it up.
JOHN-JOHN
(to the bartender)
We need another round here.
The BARTENDER, a middle aged 1950's throwback with a beehive
hairdo hands J.J. an unopened can of beer. He turns and
throws it slamming it into the forehead of Feller Two
knocking him silly.
The beer can spins overhead and gushes open, landing on the
pool table spewing beer like Ol' Faithful.
A fight ensues between J.J. and the fellers hanging with the
pool player.
BUDDY
(still seated)
If you need any backup J.J. you just give
me a holler.
Buddy spits a wad of tobacco onto the floor, cracks open his
beer and takes a long swig.
J.J. finishes off the last guy breaking a pool cue across his
head.
Finally, he grabs his beer from the pool table as it stops
spewing a fountain of foam. He takes a chug at it.
FELLER ONE
Goddamn it J.J. I think you broke my
arm.
BARTENDER
J.J. you owe me for that pool cue!
John-John walks toward the front door to exit.
EXT. ACES 'N' EIGHTS - NIGHT
John-John exits, a DRUNKEN COWBOY entering the bar runs into
him. The cowboy's hat falls to the ground. John-John
retrieves it.
JOHN-JOHN
(apologetic)
Scuse me.
The drunken cowboy tips his hat.
J.J. jumps into his 30 year old souped up, faded black, Chevy
P.U. truck.
He turns the key. The song, 55 Ford loudly plays over his
radio. He cranks the volume and races off.
The trucks taillights trail off into the darkness.
EXT. RUN DOWN TRAILER PARK - DAY
This is a place where nobody would want to live. John-John
calls it home. He lives with his grandmother, MAW-MAW who
spends her days watching television evangelists. Maw-Maw is
wise as a serpent and harmless as a dove.
Maw-Maw's sitting on the front porch in an old rocker
conversing with WILMA, an elderly retired meter maid who
still wears her uniform. Both are fanning themselves from
the miserable heat.
Through the window John-John can be seen putting Christmas
ornaments on a pathetically worn out, fake Christmas tree.
Wilma's shaking her head.
MAW-MAW
I can't tell you what he's up to. He's
all too ornery to listen to a word I have
to say. I just know that he ain't up to
no good.
Wilma thinks John-John has gone off of his rocker.
WILMA
I think he's a few cards short of a full
deck. It just ain't done. Maybe I'm the
one whose crazy but... it just ain't
done.
MAW-MAW
(to John-John)
Johnny dear, it's awful hot out here.
Could you be a darlin' grandson and bring
us some of that ice tea from the
frigidaire?
JOHN-JOHN (V.O.)
I'll tend to your needs just as soon as
I'm finished in here Maw-Maw.
INT. LIVING ROOM - DAY
John-John tops off the pathetic tree with a beautiful new
star. He smiles and shakes his head with approval.
EXT. ROAD SHOT - DAY
Sign reading: "MISSISSIPPI STATE MENTAL HOSPITAL. QUIET
PLEASE!" The ghostly white and towering structure is
noticeable in the distance.
EXT. HOSPITAL - DAY
John-John makes a quick squealing stop in the hospital
parking lot. He gives himself a wicked smile. He knows that
he's done wrong.
He jumps out of his truck grabbing a football and a large
package wrapped with Christmas paper. He kicks the truck
door closed.
EXT. HOSPITAL - DAY
The football and package make it difficult for John-John to
ring the entrance buzzer. BZZZZ. BZZZ.
From the far end of the lengthy corridor SARAH, a blonde and
appealing southern belle nurse slowly approaches the security
window.
JOHN-JOHN
(to Sarah)
C'mon. C'mon.
She smiles as she picks up a sign in sheet. She's glad it's
John-John.
SARAH
Name please?
JOHN-JOHN
You know my gosh darn name Sarah. You do
this every time I come here.
SARAH
Your name sir?
JOHN-JOHN
(kicking at the locked gate)
Let me in this goddamn nut house.
Sarah shaking her head in a practiced fashion unlocks the
gate. John-John eyes the key ring as Sarah pushes the gate
open and lets him in.
INT. HOSPITAL - CONTINUOUS
SARAH
I do believe that its you who belongs
here J.J. Your brother is well behaved.
John-John's not hearing a word she has to say. He glances at
the snoring JORDY, one of the muscle bound assistants who's
asleep in a chair.
SARAH (CONT'D)
Are you going to sign in?
She holds out a sign-in sheet as he walks on.
SARAH (CONT'D)
Won't you sign in for me just this once?
Just this one time J.J.? Oh, J.J.
John-John walks down a long corridor. The cold gray-green
walls and shiny white floor is no place that a sane man would
want to call home. PATIENTS are peeking out of their rooms
while others aimlessly pace the corridor.
J.J. greets JR.
JOHN-JOHN
Howdy do Jr.? Don't worry, I'm sure that
insurance monies Ôbout to run out any day
now.
And JEB.
JOHN-JOHN (CONT'D)
They still got you locked up in this
loony bin Jeb?
DEWY, an eighty-eight year old black man, is being wheeled
down the corridor by a good-looking and well endowed,
southern bell NURSE. Dewey smiles at the first sight of J.J.
JOHN-JOHN (CONT'D)
Hey Dewey, you old kook ball. I'll bet
your just about achin' for that sponge
bath ain't ya?
How 'bout I trade you that sponge bath
for what's inside this here box?
DEWEY
No way J.J! I might be crazy but I ain't
nuts.
John-John slaps the nurse on the ass as she passes.
INT. HOSPITAL VISITING ROOM - CONTINUOUS
John-John enters the visiting room where families are
visiting some of the wards. He greets them kindly.
John-John passes through the visiting area into the
courtyard.
EXT. HOSPITAL COURTYARD - CONTINUOUS
It's bright, sunny, and green with beautiful trees and a
flowery garden. The atmosphere is gay and the wards, grown
men are wearing birthday caps with all the colorful array of
an eight year old child's birthday party.
The song, Boom Boom, Ain't It Great To Be Crazy is playing on
an old 45 rpm portable record player.
JOHN-JOHN
How're all you nuts doin'?
The wards laugh at anything he says. They love him. A fat,
sweaty, middle aged nurse, MABEL oversees the party. She
scorns John-John's words with a look of contempt.
John-John spots BEN from behind. Ben towers above everyone.
He's part dancing and part happily jumping out of rhythm to
the music with his familiar childhood dance. John-John
approaches him.
JOHN-JOHN (CONT'D)
Hey you, Shorty.
Ben turns around. He's deformed from the severe burns he
received in the fire twenty years earlier.
Ben's slow witted and has been raised in this hospital since
the incident. He's nothing like the hotheaded John-John.
Ben's happy, caring and carefree.
BEN
(an excited yell)
John-John!
He leaps with joy
Mabel rolls her eyes.
MABEL
That's Christmas wrapping. Today's his
birthday. In case you need to be
reminded, Ben was born on July 3rd. It
ain't hardly Christmas in the middle of
the summer.
JOHN-JOHN
(being hugged and kissed by
Ben)
It's Christmas everyday for Ben. Do you
here me? Everyday!
BEN
That's a present?
JOHN-JOHN
It's for you. Happy Birthday big buddy.
BEN
It's mine?
JOHN-JOHN
Yep, it yours. Sides you see anyone here
big enough to take it from you once you
get your paws all over it?
Ben rips open the paper. It's four large boxes of Frosted
Flakes. One of the wards cautiously takes the football from
John-John.
BEN
(shyly)
They're great.
Ben rips open a box from the wrong end. He begins to eat
huge handfuls washing them down with his beloved Mountain
Dew.
MABEL
We'll put these away for now.
JOHN-JOHN
(interfering)
He'll do fine as he is.
Mabel backs off.
Sarah enters the courtyard with candles lit on a birthday
cake. Happy Birthday Ben is spelled out on the cake. There
are twenty-six lit candles.
They all begin to sing, Happy Birthday to Ben.
John-John is the loudest and the proudest. Ben, smiling,
crunches away on Frosted Flakes. He half hides his face in
embarrassment from all this attention being drawn toward him.
JOHN-JOHN (CONT'D)
Blow out the candles Ben.
Ben breathes deep to blow out the candles. He blows a
mouthful of chewed up Frosted Flakes all over the cake. The
candles of course go out as well.
MABEL
Oh dear, Ben. Oh my!
John-John gets a kick out of it. The rest of the wards laugh
with him.
Sarah sets down her keys in the midst of all the party debris
on the table and attempts to wipe the crumbs off of the cake
frosting. It only makes it worse.
SARAH
Oh, forget it.
Sarah begins to cut the cake.
John-John eyes and manages to pocket Sarah's keys.
JOHN-JOHN
How many candles are on the cake Ben?
BEN
Twenty-five, I'm twenty-five years old
today.
JOHN-JOHN
You're twenty-five all right but there
are twenty-six candles on the cake.
BEN
How come?
JOHN-JOHN
The extra one's for good luck. What's
the cake say?
BEN
It says Happy Birthday Ben.
JOHN-JOHN
That's what it says.
SARAH
Here's some cake for you Ben.
BEN
No cake. Frosted Flakes.
MABEL
It's your cake Ben. The cake was made
for you.
BEN
No cake.
JOHN-JOHN
Let it be. He don't want no cake.
The birthday party continues. Everybody's eating cake around
the long table. Ben in contrast is eating his Frosted Flakes
washing them down with Mountain Dew.
EXT. HOSPITAL COURTYARD - LATER SAME DAY
John-John throws the football to Ben and it hits him in the
chest falling to the ground. The other patients gang tackle
Ben, piling on.
The football roles back at the feet of John-John. He picks
up the ball and walks over to the wards who are still piled
on top of Ben.
JOHN-JOHN
Ok. I got the ball. Everybody up. Time
out.
All the wards jump up and begin to signal and shout time out.
JOHN-JOHN (CONT'D)
Ben, it's apparent you ain't no wide
receiver but a strappin' ol' boy like you
would make one hell of a running back.
He begins to show Ben how to hold a football and run with it.
JOHN-JOHN (CONT'D)
You hold the ball like this and run.
Remember the object is not to let anyone
catch you. Now go.
Ben takes off.
JOHN-JOHN (CONT'D)
That's it. Run, Ben run. Faster! Don't
let no one catch you.
Ben runs around the yard in big circles over and over again.
JOHN-JOHN (CONT'D)
That's it! That's it!
Some of the wards try to catch Ben. They're obviously very
excited in this, "Let's catch Ben game."
JOHN-JOHN (CONT'D)
Way to go Ben. Way to go.
The chase continues.
EXT. HOSPITAL COURTYARD - DAY
There's a trash can full of party debris. John-John takes
out a book of matches and quickly lighting a match (one
handed) and drops it into the can. The can begins to
smolder.
The fire begins to grow in the can. J.J. returns to the
chasing game.
The nurses and assistants notice the fire burning in the can.
MABEL
(to one of the assistants)
Mercy me! Get a fire extinguisher
quickly!
John-John slides over to Ben.
JOHN-JOHN
Run Ben. Run. Keep runnin'. That's it.
That's it. C'mon.
Ben is giggling and does not notice the fire. Many of the
wards begin to stop playing the game. They watch as the
assistants fight to put out the fire.
John-John runs pushing Ben along toward the entrance to the
visiting area.
They reach the long corridor and Ben stops in his tracks,
seemingly lost in his own world.
The assistants race toward Ben and J.J.
JOHN-JOHN (CONT'D)
Ben! C'mon. Let's go. Don't let 'em
catch you.
J.J. begins to tug and pull at Ben. Ben snaps out of it and
begins to play the game of chase again.
John-John speeds up ahead of Ben passing the dozing Jordy.
Jordy is startled awake. He jumps up just as Ben crashes
into him knocking Jordy down hard.
INT. HOSPITAL - CONTINUOUS
John-John fumbles with the keys and finally manages to open
the gate just in time for Ben to charge through it.
JOHN-JOHN
Let's go. Let's go Ben. C'mon, c'mon.
You're gonna get a touchdown.
They run toward the P.U. truck. Ben laughing and excited is
oblivious to John-John's scheme. John-John opens the
passenger car door and beckons Ben further on.
EXT. HOSPITAL - CONTINUOUS
JOHN-JOHN
Get in the truck. Ben, get in. Don't
let 'em catch you.
Ben runs full stride into the open truck door and falls down
flat. The door is dented badly. Ben's still laughing
wildly. John-John helps him up and ushers Ben into the
truck.
The assistants and nurses run out the gate. They're too
late. John-John patches out. He rides in circles around the
driveway hootin' and hollerin' before taking off.
JOHN-JOHN (CONT'D)
Yahoo!
Mabel's standing at the front gate with her hands on her hips
and shaking her head. She's fuming.
Sarah hides her smile.
INT. BLACK TRUCK CAB - CONTINUOUS
JOHN-JOHN
Wave good-bye Ben. Bye-bye!
BEN
Bye-bye!
John-John and Ben wave good-bye as they speed away. Sarah
waves good-bye catching a stern look from Mabel.
JOHN-JOHN
Touchdown!
BEN
Touchdown. Huh, touchdown?
JOHN-JOHN
And a goddamn two pointer!
Ben suddenly understands that they've left the hospital. No
words are spoken, it's apparent in his expression of
confusion and excitement. John-John snickers.
The hospital diminishes in the distance.
INT. BLACK TRUCK CAB - DAY
John-John and Ben are parked in the P.U. outside of a Piggly
Wiggly convenient store. John-John's teaching Ben how to
purchase a six-pack of beer.
JOHN-JOHN
(holding some bills)
Now this is what you give 'em. And this
is how much you'll get back.
(bouncing some coins off of his
palm)
You give 'em this, and they'll give you
back that. Close to it anyway.
John-John reaches behind the seat of the truck and pulls out
an empty soda bottle. He tosses it out the window. He
reaches back again and pulls out an empty beer bottle.
JOHN-JOHN (CONT'D)
This is what the bottle looks like, O.K.?
You get six of 'em. You know how many
six is right?
BEN
I can count to twenty-five.
JOHN-JOHN
Sure you can. That's why I'm sending you
in to get the beers.
Ben looks at the store and then back to J.J. petrified.
JOHN-JOHN (CONT'D)
Now go on and get the beers. Go get the
beers Ben. Its O.K! I'll be watchin'.
Ben timidly leaves the truck.
BEN
(counting)
One. Two. Three. Four. Five. Six.
He turns back smiling and waving at John-John.
INT. PIGGLY WIGGLY - CONTINUOUS
Ben enters the store. The door chains CLINK and CLANK. Ben
stops to watch them until they stop making the racket. This
place is completely alien to him.
BEN
Get the beers Ben. Go and get the beers.
Two employees behind the counter, a fat old redneck lady,
LOUISE nudges a younger skinny geek of a man JED with his
name tagged to his shirt.
They watch in morbid curiosity as the deformed Ben walks to
the freezer looking at the empty bottle and finally matches
it up with a six pack of beer. He's amazed he found them.
BEN (CONT'D)
(very pleased and shouting out
to J.J.)
I got the beer. I got the beer. I got
the beer.
Ben shouting out to J.J. who is now busy with a YOUNG THANG
who is hanging into the truck while J.J. charms the pants off
of her. She's wearing a halter top, short shorts on her long
colt legs, baby doll shoes and sportin' a ponytail.
J.J. gives Ben the thumbs up.
LOUISE
(sarcastically)
Will miracles never cease.
Ben slumps down and quietly takes the six pack container out
of the refrigerator and one by one counts the beer bottles
putting them on the floor.
BEN
One, Two, Three, Four, Five, Six.
LOUISE
(to Jed)
I think there's somethin' seriously wrong
with that boy.
When he finishes re-counting the beers over and over and
places the empty container back in the freezer. He picks up
the empty bottle and six single beers. On his way to the
sales counter he drops one.
BEN
Uh oh!
LOUISE
(to Jed)
I think you should go and see what the
hell is going on back there.
Ben goes back for another. He then passes a sales stack of
Mountain Dew. He's never seen so many in his life. He
freezes in his tracks.
He goes to the Mountain Dew display and attempts to pick up a
twelve pack. He bites off more than he can chew, one of the
beer bottles slips out of his grasp and crashes to the floor.
Then another, then another.
LOUISE (CONT'D)
Hey, you! What in Sam Hill is goin' on?
Ben's too overwhelmed to acknowledge her. He spots the
Frosted Flakes and begins to move toward them.
He reaches up to grab a box of Frosted Flakes and knocks a
box onto his head (teetering between the shelves edge and his
head), balancing it as to not let it fall onto the floor.
Jed peeks around the corner. Louise peeks around the corner.
LOUISE (CONT'D)
Jed, get the gun!
The boxes of Frosted Flakes tumble down around Ben.
Ben tries to carry as many sodas and boxes of Frosted Flakes
as he can.
Then he spots the candy aisle and beelines toward it. He's
awed by the enormous display of candy.
LOUISE (CONT'D)
(brandishing a broom)
Mister, you're gonna pay for this mess
you made.
As Ben is reaching into the candy, he drops everything and
runs, trampling the beer, cereal, soda, etc. Just then, Jed
comes around the corner.
Jed steps into Ben's path. Alarmed and frightened Ben side
steps Jed knocking over several magazines off of the magazine
rack. Ben loses his balance, regains it and runs terrified
toward the door.
Louise gives chase.
EXT. PIGGLY WIGGLY - CONTINUOUS
J.J.'s already at the door, he's there to protect the
cowering Ben.
JOHN-JOHN
What's wrong lady?
LOUISE
What's wrong? What's wrong! I'll tell
you what's wrong. Take a look at this
mess.
The aisle is in shambles.
JOHN-JOHN
(consoling to Ben)
It's OK Ben. It's alright.
LOUISE
(talking over J.J.)
I oughta call the cops on you. I oughta
have you arrested.
JOHN-JOHN
Ma'am I'm sorry for the trouble we caused
you.
LOUISE
You're sorry? You're sorry alright.
John-John enters the store. The bells CLING and CLANG. He
sees the place is in complete disarray.
INT. PIGGLY WIGGLY - CONTINUOUS
JOHN-JOHN
Lady, I said I'm sorry. I'll pay you for
the damage.
(to Ben)
I'm taking care of it Ben. Just calm
down. It's alright.
Jed begins to pick up the magazines and starts to place them
on the rack.
John-John follows Louise to the register.
JOHN-JOHN (CONT'D)
About how much do you figure we owe you
Ma'am?
LOUISE
Between the beer, the cereal, the soda
pop and the candy. And look at all them
magazines soakin' wet. I'll never be
able to sell Ôem now.
John-John pulls out some money.
JOHN-JOHN
Will this about cover it?
LOUISE
(shaking her head no)
That will do for the merchandise. But it
ain't nearly gonna pay for all the
cleanin' up Jed's gonna have to do.
John-John pulls out a little more money. Louise snatches it
up.
LOUISE (CONT'D)
Well, alright. Just get on out of here
and don't you ever show your face in here
again.
She opens the cash register. KA-CHING.
JOHN-JOHN
(to Ben calmly)
C'mon let's get out of here Ben.
They start to move toward the door.
LOUISE
Just look at that J.C. Whitney catalog,
special ordered for ol' man Joe. Now
what am I gonna tell him happened to his
magazine? Some tard came in here and
tore the place up? You expect he'll
believe that? Do you?
John-John stoops down picking up a beer and a mountain dew.
JOHN-JOHN
(turning back to Louise)
Ma'am, if you ran them heffer cow legs of
yours as much as you run them chicken
lips, I'd say you'd be Ôbout as skinny as
Jed over there and you wouldn't have to
walk sideways through doorways like an
ol' crab.
For once Louise is speechless.
John-John opens the door to leave and those darn bells start
CLANGING on the door again. Ben slaps at them as if to say,
shut-up. He doesn't like them anymore.
EXT. A BEAUTIFUL LAKE - LATER SAME DAY
The sun is setting over a beautiful placid lake. Moss grows
off of the cypress trees. Huge lily pads sparsely cover the
surface of the water. John-John is drinking a beer. Ben of
course is drinking his Mountain Dew.
J.J. sits on the ground while Ben stands towering over him.
JOHN-JOHN
The sun always shines beautiful over a
smooth flat lake.
Ben turns and slightly grins acknowledging J.J.'s statement.
JOHN-JOHN (CONT'D)
Looky there! Did you see that? That was
a catfish jumpin' clear out of the water.
BEN
When are we going to see Momma? You said
you would take me.
JOHN-JOHN
You want to see Momma? Well, let's go
and see Momma.
John-John downs his beer, stands and stretches.
JOHN-JOHN (CONT'D)
Let's go boy.
John-John puts his arm around Ben and heads toward the P.U.
EXT. LAKE SIDE ROAD - CONTINUOUS
The P.U. truck drives off down the road leaving us the view
of the serene beautiful lake.
INT. MAW-MAW'S LIVING ROOM - LATER SAME DAY
A sterile television EVANGELIST is blabbing in the background
on the TV. John-John steps through the front door.
JOHN-JOHN
Looky here Maw-Maw! Look what the cat
dragged in.
Maw-Maw slowly turns and gazes at Ben. She jumps from her
seat.
BEN
Hi, Maw-Maw.
MAW-MAW
(nervous)
Oh, my. You just can't take him whenever
you please. Oh, Lordy.
JOHN-JOHN
(laughs)
I just borrowed him some. I'm bringin'
him back after his birthday.
MAW-MAW
You'll be bringin' him back right away if
I have anything to say about it.
JOHN-JOHN
Not yet. Not until we go and visit
Momma.
MAW-MAW
I better phone Mabel and tell her you'll
be bringing him back immediately...
(a stern look at John-John)
if not sooner.
Through the plate glass window a Sheriff's patrol car pulls
up to the trailer.
UNCLE JIM, is a mild mannered man, tall and lanky. He's a
likeable fellow if not pushed to his limits. He's also
Momma's brother.
JOHN-JOHN
Ain't no need for that, Uncle Jim's here
now. I'll straighten this thing out.
EXT. MAW-MAW'S PORCH - DAY
John-John steps from the doorway and onto the porch. Ben is
lurking behind the doorway and peeking out.
Uncle Jim's POV, he walks to the front porch.
JOHN-JOHN
Hey, Uncle Jim.
UNCLE JIM
I gotta take him back J.J.
JOHN-JOHN
Now hold on there. Not just yet, I
promised him I'd take him to see Momma.
UNCLE JIM
J.J. you know you can't do that. You
can't just take the boy whenever you
please.
JOHN-JOHN
I'll get him back just as soon as I can.
UNCLE JIM
Well... I can say that I never saw ya.
But you better get him back.
(tapping J.J.'s chest with his
finger)
ASAP!
JOHN-JOHN
Alrighty, I will. I said I will.
Jim turns to go.
UNCLE JIM
Oh, and one more thing. You better take
care of that pool stick you broke over at
Aces. If I was you... I'd tone it down
a bit. You tore those boys up pretty
good last night. Sooner or later you're
gonna push it too far.
JOHN-JOHN
Ain't cha even gonna say happy birthday
to Ben?
UNCLE JIM
Happy birthday Ben!
Ben smiles.
BEN
Uncle Jim! Uncle Jim!
UNCLE JIM
Yes, Ben?
BEN
I'm twenty-five years old.
UNCLE JIM
That's real fine.
(to John-John)
First thing in the morning!
JOHN-JOHN
Yeah, I heard ya.
UNCLE JIM
Just do it.
Uncle Jim jumps back into his car and drives off.
JOHN-JOHN
(to Ben)
C'mon, inside Ben. I got somethin' to
show ya.
INT. MAW-MAW'S LIVING ROOM - CONTINUOUS
John-John takes Ben into the living room.
JOHN-JOHN
I've got a real special surprise for you.
John-John leads Ben to the Christmas tree. Ben's jaw drops
as he beams in excitement, then his smile fades.
EXT. FLOWERY FIELD - DUSK
John-John stops the truck, jumps out and begins to pick some
wild flowers growing in a low-lying meadow.
Ben follows behind J.J. copying whatever he does.
EXT. GRAVEYARD - DUSK
John-John and Ben slip through a hole in a fence. There are
many headstones and grave sights. They walk through the
graveyard until they draw near to Momma's headstone.
JOHN-JOHN
There's Momma. Over there by them trees.
BEN
Momma? Come out. Come out if ever you
aren't.
Ben runs past the gravestone.
JOHN-JOHN
Over here Ben.
John-John bends down placing the flowers in the headstone
vase. He begins to clear the weeds away. Ben runs over to
J.J. still holding his flowers.
BEN
Where is she?
JOHN-JOHN
Right here. Understand? She's right
here.
BEN
I don't see her.
JOHN-JOHN
You don't see her because she's under the
ground.
(he throws up his hands)
She's gone.
BEN
I don't see Momma.
JOHN-JOHN
You don't see her because she died. She
died a long time ago. On that morning
you got hurt bad. Do you remember now?
Ben doesn't understand. J.J. stands up and puts his arms
around Ben and holds his brother.
JOHN-JOHN (CONT'D)
(to Momma's grave)
So long Momma.
J.J. turns to leave.
Ben looks at the grave as if he now understands. He puts his
flowers on the grave and picks a few weeds.
BEN
Bye Momma.
DISSOLVE TO:
EXT. SEEDY STREET - NIGHT
John-John cruises into a seedy part of town. There's an
adult bookstore, a XXX theatre, some small time street
hustlers and pimps.
All the usual trash of the underworld of a much larger city
is present. J.J. spots two sexy, SLEAZY WHORES, who are
strutting their stuff.
John-John turns the truck around and yells out the window.
JOHN-JOHN
Damn, did you get a load of her?
(to the street chick)
Hey honey, is that thing specially
wrapped for me?
John-John turns to Ben and realizes he's uncomfortable and
looking the other way. He pulls over to the curb.
JOHN-JOHN (CONT'D)
What's wrong? Ain't you never been with
no girl before?
Ben doesn't answer he continues to ignore John-John.
JOHN-JOHN (CONT'D)
You like girls don't you?
BEN
I like Sarah cause she always gives me
extra candy.
JOHN-JOHN
Well, that ain't the kind of candy I'm
talkin' about. If you catch my drift.
John-John begins to drive slowly toward the prostitutes.
JOHN-JOHN (CONT'D)
Hey honey, come here. What's your name?
The two street girls, CINNAMON and SUGAR walk over to the
truck and begin to flirt with John-John.
CINNAMON
You can call me Cinnamon. I'll give you
my special rate sugar. Cause, you're
awfully cute.
JOHN-JOHN
It ain't for me. It's for him. How
much?
CINNAMON
(shocked at the sight of
Ben)
You ain't got enough money. Hell, Jimmy
Swaggert ain't got enough money.
Cinnamon walks away. J.J. with looks that kill turns to
SUGAR.
SUGAR
(to John-John)
I ain't sayin' nothin'.
Sugar walks away too. J.J.'s about to explode. He patches
out, turning the car around and startling the girls by
running them off of the road.
Down the street he makes a quick stop and contemplates. The
whores are yelling at him in the distance and throwing
anything they get their hands on at the truck.
JOHN-JOHN
I know just the place. You're gonna have
a happy birthday after all.
INT. ACES 'N' EIGHTS - LATER SAME NIGHT
John-John and Ben enter the bar. It's semi-crowded and
everyone's staring at them. John-John speaks to the
bartender who's wearing a cowgirl kinda outfit.
JOHN-JOHN
Get me a drink.
(agitated to the patrons)
What are ya'll looking at?
John-John sits at the corner of the bar with Ben.
BARTENDER
I ain't givin' him a drink J.J. I was
told by your Uncle Jim that if you showed
your face in here to tell you to get that
boy back to the hospital.
JOHN-JOHN
Where is she?
BARTENDER
And when you gonna pay for that cue?
JOHN-JOHN
Darlin', have I told you lately that I
love you?
BARTENDER
You ain't gonna sweet talk your way out
of this one.
John-John gives her the once over, looking her up and down.
JOHN-JOHN
I only got two words to say 'bout you
woman. Umm. Umm.
BARTENDER
J.J. you're terrible.
JOHN-JOHN
Now, honey you be a real good girl and
get ol' J.J. one of them beers. And
while you're at it, bring Ben here a
Mountain Dew. Go on, but move real slow.
Cuz, I want to watch you shakin' while
I'm a bakin'.
The bartender roles her eyes, shakes her head and walks away
to get J.J. his beer.
JOHN-JOHN (CONT'D)
And put lots of cherries in that Mountain
Dew.
John-John's ex-girlfriend Becki walks out on stage with her
back-up band. (Charlie's the guitar player in the band.)
There's a thunderous, stomping roar from the local cowboy
patrons. (Buddy is on drums.)
The hillbilly looking BAND MEMBERS begin to tune their
instruments. Becki spots J.J.
BECKI
This one goes out for you J.J.
The cowboy crowd teases John-John with a chorus of AWW
SHUCKS. John-John waves it off.
The band strikes up Wanda Jackson's, SAVIN' MY LOVE. John-
John sneers at Becki as she croons exclusively for him.
BECKI (CONT'D)
(singing)
I like a lot of lovin'. I like a lot of
kissin'.
(she turns to Charlie)
You ain't gettin' none you don't know
what you're missin'.
(back to J.J.)
I'm savin' my love baby just for you.
Yeah, I'm savin' my love baby just for
you. If you're lovin' me like I'm lovin'
you. I'd be willin' to stick with you.
I'm savin' my love just for you. Yeah,
I'm savin' my love baby just for you.
JOHN-JOHN
Hooked line and sinker. C'mon Ben, let's
move.
Ben grabs a handful of cherries and stuffs them into his
mouth.
John-John and Ben exit the bar. Becki stops singing and runs
to the door. The band continues to play.
EXT. ACES 'N' EIGHTS - CONTINUOUS
Becki runs up to John-John as he walks to his truck.
BECKI
I'm really sorry for the fight we had the
other night.
JOHN-JOHN
I'll bet you are.
John-John continues to walk toward the truck.
BECKI
I'll do anything to make it up to you.
Anything, you're li'l ol' heart desires.
You know I just hate it when we bicker at
each other. Especially when there are so
many other things we could be doin'.
JOHN-JOHN
Yeah, I'll bet you was just bawlin' your
eyes out.
BECKI
I was. I really was. I didn't sleep a
wink.
JOHN-JOHN
Aww, honey, did I do that to you?
BECKI
(pouting)
Umm hmm!
JOHN-JOHN
Let me make it up to you. Let's get out
of here. Just me and you.
BECKI
(pointing toward Ben)
Well, what are we gonna do about him?
JOHN-JOHN
Just you let me worry about that.
They get in the truck. Becki jumps in through the driver
side. J.J. gives her a smack on the ass. Becki giggles.
Ben gets into the truck. John-John jumps in.
JOHN-JOHN (CONT'D)
(to Ben)
Ben, I want you to meet Becki.
Ben's still chewing a mouthful of cherries.
They drive off.
INT. BLACK TRUCK CAB - CONTINUOUS
BECKI
So this is your brother? Howdy Ben.
How's things? Those burns sure are
terrible. What a shame!
JOHN-JOHN
Ben, this here girl is gonna show you how
to feel important. Ain't that right
Becki? Real important!
BECKI
What do you mean?
JOHN-JOHN
I mean anything I want. Anything my li'l
ol' heart desires.
Becki's jaw opens wide in astonishment.
BECKI
Do what? Now you just hold on. You just
wait a cotton pickin' minute.
John-John slams on the brakes. He swings open his door.
JOHN-JOHN
Anything my li'l ol' heart desires?
BECKI
(pouting)
Anything.
EXT. STREET - CONTINUOUS
John-John guns it. The door slams closed by the force of the
auto surging forward.
EXT. BRONCO'S BEDPOST - CONTINUOUS
John-John pulls up to a seedy hotel. The sign out front
reads: "BRONCO'S BEDPOST: HITCH UP FOR THE NIGHT." The neon
vacancy sign is half burnt-out, but brightly lit.
INT. BLACK TRUCK CAB - CONTINUOUS
John-John hops out of the truck. He turns, eyeing Becki and
grinning from ear to ear enters the hotel office walking
backwards.
EXT. BRONCO'S BEDPOST - CONTINUOUS
John-John unlocks and kicks open the hotel room door. Becki
and Ben enter the room. John-John stays outside.
JOHN-JOHN
Ben, listen here. Becki has a special
birthday present just for you. So go on
in and see what's waitin' for you.
BEN
A present for me?
Becki pouts.
JOHN-JOHN
That's right Ben, just for you.
INT. BRONCO'S BEDPOST HOTEL ROOM - CONTINUOUS
Defeated, Becki looks pleadingly out to John-John. He's
grinning from ear to ear, and as he's closing the hotel
door...
JOHN-JOHN
It shouldn't take too long.
Triumphantly, J.J. folds his arms, leaning against a post.
INT. BRONCO'S BEDPOST HOTEL ROOM - CONTINUOUS
BECKI
(perturbed)
Well, come here.
Ben steps toward Becki.
BECKI (CONT'D)
Let's get them britches off.
Becki starts to take off Ben's shirt. She sees the terrible
burns that cover his chest and arms. She takes pity on.
BECKI (CONT'D)
That's such a shame. A terrible,
terrible shame.
Ben timidly looks away as she reaches forward to touch him.
BECKI (CONT'D)
You know somethin', if we clean you up a
bit you might not look half bad.
She scruffs up his already scruffy hair.
BECKI (CONT'D)
Let's see what we can do with this.
Like a little girl playing with a new doll she wet combs his
hair back. He looks alot better.
BECKI (CONT'D)
There, nobody would hardly recognize you
now.
Becki reaches in and kisses Ben on the cheek.
EXT. BRONCO'S BEDPOST HOTEL ROOM - BARELY SUNRISE
John-John opens the hotel room door. Becki's half-naked and
dressing, still steamed at him.
INT. BRONCO'S BEDPOST HOTEL ROOM - CONTINUOUS
J.J. steps into the room.
JOHN-JOHN
You're right about one thing, there ain't
nothin' you won't do. C'mon Ben get up.
We're leavin'.
BECKI
And to think I was cryin' my eyes out
over you.
JOHN-JOHN
Oh, you may have been ballin', but you
ain't never shed a single tear.
BEN
John-John she was doing stuff.
(excited like a child out of
breath)
She was touching me there.
(pointing)
Right there!
John-John tosses a Mountain Dew at Ben.
JOHN-JOHN
C'mon we're gettin' out of this town.
For good!
BECKI
Do what?
JOHN-JOHN
Goin' West honey. Gonna break bread in
the new land. And we ain't got no room
for anyone else neither.
Becki begins to hit John-John.
BECKI
You're taking me with you.
JOHN-JOHN
(grabbing her arms and
laughing)
No, I'm not. I got me an appointment to
keep. I'm gonna race with the devil and
like I told you, there ain't no room for
no stragglers. Not now. Not never.
As Ben and John-John exit the room.
BEN
(to Becki)
You were touching me there.
JOHN-JOHN
Don't make nothin' of it, she touches
everybody there.
Becky picks up a hotel ashtray and wings it toward the door.
EXT. BRONCO'S BEDPOST HOTEL ROOM - CONTINUOUS
John-John closes the door. The ashtray slams into the door
from the inside.
FADE:
INT. JOHN-JOHN'S BEDROOM - LATER SAME DAY
John-John's asleep on the floor in his room. Ben's lying in
his bed. J.J.'s awoken by the sound of a mail truck HONKING
at a PACK OF DOGS congregated in the street.
John-John groggily looks out the broken windowpane.
The pack of dogs chases the mail truck out of view.
John-John wakes Ben.
JOHN-JOHN
Rise and shine big boy.
INT. KITCHEN - CONTINUOUS
John-John walks into a beat up old kitchen and grabs a beer
out of the refrigerator and opens it. He walks past a
picture of Momma hanging on the wall. She's young, smiling
and very beautiful.
Maw-Maw's in the living room in an old rocking chair. She's
watching a television evangelist as usual.
INT. MAW-MAW'S LIVING ROOM - CONTINUOUS
He sits next to her and kisses her cheek.
JOHN-JOHN
Mornin' Maw-Maw.
TV PREACHER
God has chosen you today in the name of
Jesus to walk the righteous walk, to turn
from the path of destruction and into the
everlasting arms of the Messiah.
The preacher continues to blab.
TV PREACHER (CONT'D)
Jesus, is the King of kings and the Lord
of Hosts. He is calling on you right now
to turn on bended knee and to drink from
the everlasting fountain of his holy
word...
JOHN-JOHN
I hope you ain't sent him none of your
social security check. Just look at them
rings on his fingers. He's conned enough
li'l ol' ladies out of their life's
savings to buy himself a one-way, first
class ticket right to the entrance of
them pearly gates.
Maw-Maw slaps J.J.'s arm.
MAW-MAW
J.J. you just hush.
JOHN-JOHN
Aahh, what's the use.
John-John shakes his head at the television and walks out
onto the porch.
EXT. MAW-MAW'S PORCH - CONTINUOUS
An old time version of, Somethin's Got A Hold Of Me begins to
play. The TV preacher's voice can be heard even on the
porch.
John-John notices that the mailbox red flag is up. He walks
over and opens the box.
John-John looks inside of the mailbox. He pulls out a
letter. Scratching his scruffy face fuzz he walks to the
porch and sits down on the steps.
Staring at the letter he holds it up to the sun. He
hesitantly begins to open it. He does. He reads it
silently, not really believing what he's reading.
Ben's now standing over his shoulder.
Uncle Jim's police car swiftly pulls up to the trailer. He
jumps out.
UNCLE JIM
(piqued)
I told you to bring him back to the
hospital. Now didn't I? You told me you
would do it first thing after you visited
your Momma's grave. I don't like being
made out to be fool. I'm gonna have to
bring him back right now. Ben, get in
the car.
Still holding the letter, John-John jumps up from the porch
steps ready to square off with Uncle Jim.
JOHN-JOHN
I can't let you do that Uncle Jim.
Eye to eye, Uncle Jim and John-John square off.
UNCLE JIM
Get out of my way boy. I oughta arrest
you for interfering with the law,
kidnapping and every other stupid thing
that you've done lately. Ben, let's go!
We're going back to the hospital where
you belong. I'm taking you home.
Uncle Jim begins to lead Ben toward the car and sits him in
the front seat.
J.J. grabs Uncle Jim by the arm attempting to stop him.
Uncle Jim jostles J.J. off his arm. J.J. continues to get at
Ben. Uncle Jim puts J.J. arm behind his back and against the
police car. The letter falls to the ground.
In the struggle J.J.'s lip is cut. He's humiliated and hurt
that Uncle Jim would do this. Uncle Jim forces J.J. to the
ground. The side of J.J.'s face is pressed against the
ground facing the fallen letter.
UNCLE JIM (CONT'D)
I'm sorry to do this to you J.J., but
don't ever interfere with my duty as an
officer of the law.
Uncle Jim lets loose of J.J.'s arm. He closes the car door.
John-John jumps up and runs into the trailer.
INT. MAW-MAW'S LIVING ROOM - CONTINUOUS
J.J. grabs a double-barreled shotgun that hangs on the living
room wall. He races back outside.
Maw-Maw screams aloud.
MAW-MAW
Johnny!
EXT. MAW-MAW'S TRAILER - CONTINUOUS
John-John aims the gun at Uncle Jim.
JOHN-JOHN
Get on out. Get on out of here.
Maw-Maw runs out onto the porch.
UNCLE JIM
Go on J.J., pull that trigger if you
think you're man enough.
JOHN-JOHN
Oh, I'm man enough...
John-John cocks the trigger.
MAW-MAW
Dear Lord?
John-John BLASTS a shotgun shell into the mailbox. Ben
covers his ears with his hands. Uncle Jim doesn't even
flinch, but he's a bit surprised.
MAW-MAW (CONT'D)
Have you gone and lost your mind?
JOHN-JOHN
Cuz I got nothin'. And when you got
nothin' you got nothin' to lose.
John-John recoils the shotgun.
He steps toward the police car and removes the frightened Ben
from the passenger seat.
JOHN-JOHN (CONT'D)
C'mon Ben. Just leave us be Uncle Jim.
This ain't got nothin' to do with you.
J.J. gestures with the gun for Uncle Jim to move on down the
road. Uncle Jim turns to leave.
UNCLE JIM
You better think about what you're doin'.
JOHN-JOHN
What another speech?
UNCLE JIM
Here's the speech. If you don't have him
back at the hospital immediately. I'm
gonna put an APB out on your ass. Let's
see how you handle one of my deputies
that ain't kin, someone that won't put up
with your bs and bullshit.
Uncle Jim jumps in his car and slams the door. He drives
off.
MAW-MAW
What has come over you? You've been
straddlin' that fence long enough. Now
you get Ben back to the hospital where he
belongs. And you don't show your face
around here until you do.
Maw-Maw huffs and stomps back into the trailer slamming the
door behind her.
J.J. wipes his lip, dusts himself off and looks at the letter
on the ground. He picks it up.
JOHN-JOHN
(to Ben)
You heard Ôem. Let's go.
J.J. jumps in the truck and tosses the letter on the
dashboard.
EXT. COUNTRY ROAD - LATER SAME DAY
John-John and Ben are hauling down a country road.
The Mississippi State Hospital sign becomes noticeable from
the drivers POV.
J.J. hits the brakes. The truck tires SQUEAL to a dead stop.
There's a fork in the road. One road leads to the hospital
and the other one curves to the left.
J.J. picks the letter up off of the dashboard. He smacks it
in his hand gazing back and forth at the letter, the hospital
and to Ben.
He guns it, taking the road to the left.
JOHN-JOHN
You know what day it is? Why, it's the
fourth of July. Know what that means?
It means that it's the day after your
birthday. Naw, what it really means is
fireworks explodin' in the sky.
Ben lights up like a Christmas tree.
BEN
Fireworks?
JOHN-JOHN
That's right. There's gonna be lotsa
fireworks. Lots and lots of 'em.
EXT. HILLTOP - NIGHT
Fireworks explode in the skyline. Ben and John-John sit on a
hillside enjoying the spectacular show. There's a feeling of
melancholy. Silence prevails but is broken.
BEN
John-John when are you going to take me
back to the hospital?
JOHN-JOHN
Do you want to go back?
BEN
Isn't hospitals for sick people?
JOHN-JOHN
Just take a look around you Ben, we're
surrounded by sickness.
BEN
I'm not sick. Am I?
JOHN-JOHN
I've been saying that for years. But,
who's listenin' to anything that I got to
say?
Another colorful explosion fills the sky.
BEN
Look at that one.
(pause)
Uncle Jim is very mad at you.
JOHN-JOHN
I don't particularly care.
Another firework explodes in the sky.
BEN
Look at that one. Did you see that one?
Silence.
BEN (CONT'D)
Fireworks, huh? Boy, I sure do like
fireworks. How come they don't have them
every night?
JOHN-JOHN
Because, if there were fireworks every
night this wouldn't be a special night
and...
Ben lights up and interrupts.
BEN
And that means that if there wasn't any
fireworks, then tonight wouldn't be a
special night?
There is another aerial bombardment.
BEN (CONT'D)
Look.
JOHN-JOHN
Yeah. They sure are beautiful.
BEN
Becki is beautiful too.
JOHN-JOHN
Yeah. It's a damn shame.
Fireworks continue to explode as the camera pulls back into
an Extreme Long-Shot making the boys appearance
insignificant.
EXT. HEP-R-SEF GAS STATION - DAY
John-John pulls into the HEP-R-SEF gas station to fuel up.
J.J.'s eyes locate Charlie's hot rod.
They jump out of the truck. John-John begins to show Ben how
to pump gas.
JOHN-JOHN
Just hold the handle down like this here
'n' I'll be back after I pay the man
inside... a little visit.
J.J. goes to his glove box, pulls out a .45, putting it under
his belt.
INT. HEP-R-SEF GAS STATION - CONTINUOUS
Charlie sits behind the counter reading a Hot Rod magazine as
J.J. enters.
J.J. walks up to the counter.
JOHN-JOHN
Howdy, Charlie.
Charlie looks up and slowly pulls down the magazine. He
tries to hide the guilty as sin look on his face as J.J.
stares him down.
CHARLIE
Oh, hello J.J. what can I do you for?
JOHN-JOHN
I just came in to get some gas.
Charlie begins to squirm as J.J fills the counter with items.
J.J. points to a pair of sunglasses hanging on a rack.
JOHN-JOHN (CONT'D)
Gimme them flies.
CHARLIE
These here?
Charlie points to a hideous pair of glasses that only Elton
John would wear.
JOHN-JOHN
No, not them. Them over there.
Charlie hands J.J. a slick pair of wrap around Ray Bans. He
puts them on. There's a rack of T-shirts with different
slogans.
JOHN-JOHN (CONT'D)
What's the largest size shirt you got
like that?
CHARLIE
This one?
Charlie points to a shirt that says, I'm A Little Devil But
Grandma Still Loves Me.
JOHN-JOHN
(shaking his head no)
Uh unh!
Charlie timidly points to the one next to it which reads,
Paybacks A Bitch.
JOHN-JOHN (CONT'D)
Uh huh!
While Charlie is taking down the shirt...
JOHN-JOHN (CONT'D)
And while you're at it throw in them beef
jerky sticks as well.
CHARLIE
All of Ôem?
JOHN-JOHN
Yep, all of them.
CHARLIE
That's almost a whole damn box?
JOHN-JOHN
Well, I wanted a whole damn box. So's I
guess I'll have to settle for almost a
whole damn box.
CHARLIE
You want anything else?
JOHN-JOHN
Yeah, one more thing. Charge it.
CHARLIE
You got a charge card?
JOHN-JOHN
(he laughs)
Umm Hmm.
John-John pulls out his .45 and places it on the counter.
JOHN-JOHN (CONT'D)
Accepted in finer establishments the
world over.
He spins the gun. Charlie eyes dart from the gun, to J.J.
and back to the gun.
JOHN-JOHN (CONT'D)
Charlie, you ever play spin the bottle?
CHARLIE
Uh, yeah.
The barrel continues to spin.
JOHN-JOHN
Well, this is a variation on the theme.
The gun stops on Charlie. Just as Charlie looks up John-John
socks him in the right jaw. WHACK.
Charlie wipes his painful jaw.
CHARLIE
Damn, J.J. what in the hell was that for?
J.J. slugs him again. WHACK.
JOHN-JOHN
The same thing that was for.
Charlie is now holding both sides of his jaw. Charlie begins
to spill his guts.
CHARLIE
She was all over me J.J. It wasn't my
fault. I told her. I told her.
JOHN-JOHN
I'm sure you did. But you forgot one
thing.
(J.J. grabs Charlie by the
shirt)
She was my gal.
CHARLIE
I tried to stop her...
JOHN-JOHN
I'll bet you did. Now how much do I owe
you Charlie?
CHARLIE
Forty-six, ninety three.
J.J. doesn't say a word.
CHARLIE (CONT'D)
Twenty two, fifty?
John-John picks up the gun and shoots out the video camera.
CHARLIE (CONT'D)
On the house?
John-John turns to walk out the door then turns back.
JOHN-JOHN
Oh, one more thing. I almost forgot.
CHARLIE
What! You ain't gonna hit me again are
you?
JOHN-JOHN
The money.
(he sticks the barrel up
Charlie's nose and cocks the
hammer)
The money!
With the gun in his face, Charlie quickly opens the cash
register and empties the drawer. John-John reaches under the
counter and pulls out a 9mm hand gun.
JOHN-JOHN (CONT'D)
(scolding)
Charlie?
CHARLIE
Huh?
J.J. puts on a DEER tractor cap.
JOHN-JOHN
Nice gun!
EXT. HEP-R-SEF GAS STATION - CONTINUOUS
In an agitated state Ben's still pumping the gas. It's
spilling out on the ground in large amounts and all down his
pants and shoes. There's a huge gas puddle.
J.J. nonchalantly puts the guns in his pants and walks over
to Ben.
J.J. simply turns the pump nozzle off and helps Ben into the
truck.
John-John gets into the truck and takes off.
EXT. HIGHWAY - DAY
LONG-SHOT of John-John's truck heading west on I-10 passing a
sign which states: "YOU'RE NOW LEAVING MISSISSIPPI, Y'ALL
COME BACK NOW YA HEAR"
INT. BLACK TRUCK CAB - CONTINUOUS
J.J. drives along the highway.
JOHN-JOHN
We got an important stop to make. One
that you won't mind makin'. I'm sure of
that.
(pause)
I'm sure of that for sure.
INT. MUSKOGEE POLICE DEPT. - DAY
The usual small town police station scene, cops pushing
paper, a COUPLE OF DEAD BEATS being processed.
INT. UNCLE JIM'S OFFICE - CONTINUOUS
Uncle Jim is giving a lecture to a seemingly hard-core
criminal.
UNCLE JIM
Can you see yourself locked up like a
caged animal, behind them barbed wired
prison walls? Can you hear the sound of
that cell door slamming shut? Do you
want to spend the rest of your life like
a rotating door, swingin' in and out of a
state run, correctional facility?
Surrounded by hardened criminals?
Murderers? Rapists...
The camera pulls back to reveal a YOUNG BOY with a baseball
mitt on his left hand, a baseball cap and a baseball jersey.
He sits motionless as Uncle Jim continues his harangue.
UNCLE JIM (CONT'D)
Child molesters? Now old man Sam says if
you mow his lawn for the rest of the
summer, he's willing to forgive your
debt and drop all charges for smashing
that big ol' plate glass window on his
hardware store. And I think that's a
pretty good deal considerin'... What's
your take on it?
The boy sits frozen in silence.
UNCLE JIM (CONT'D)
OK then... Now you get on out of here and
I don't want to ever see you in here
again.
The boy still sits, frozen in fear.
UNCLE JIM (CONT'D)
Go on! Get out of here before I decide
to change my mind.
The boy races out of the office. Uncle Jim holds back his
laughter as the boy disappears.
KELLY, a young, handsome and muscular deputy enters Uncle
Jim's office knocking. He hands Uncle Jim a printout.
KELLY
Jim we got us some trouble.
Uncle Jim takes the printout and begins to read.
UNCLE JIM
What is it?
KELLY
It's J.J.
UNCLE JIM
(heightened state)
Goddamn it J.J. Put an APB out on him.
I want the dern fool picked up before he
goes and gets somebody killed.
EXT. HIGHWAY - DAY
A LONG-SHOT of J.J.'s truck roaring down highway I-10, West
bound. It's stirring up dust and revealing a COPPERHEAD
SNAKE that was just run over by his wheels.
INT. BLACK TRUCK CAB - DAY
J.J.'s POV as the driver. Out of the corner of his eye he
glances over as a car passes on his left. The driver is
Johnny Sr. smoking a cigarette.
The passenger of the car is Momma wearing sunglasses which
poorly hides her shiner and a Jackie O' scarf. A young Ben
(playing with a toy fire engine) and J.J.
are in the backseat. The younger J.J. looks over at J.J. as
the car passes.
CUT TO:
INT. BLACK TRUCK CAB - DAY
A Semi-truck horn BLARES. J.J. snaps back to reality. He's
driving full speed on the wrong side of the road and aiming
for a head on collision with the Semi.
Like a train it barrels toward them. The horn becomes
LOUDER. John-John swerves sharp quickly to the right.
EXT. BLACK TRUCK CAB - CONTINUOUS
The truck loses control on the dirt shoulder. Spinning to a
stop and in the opposite direction, engulfed by a cloud of
dust.
INT. BLACK TRUCK CAB - CONTINUOUS
The Semi's horn BLARES long past the incident. J.J. turns to
Ben. Ben turns to J.J. who is cut on the forehead with blood
beginning to trickle from his wound.
INT. BLACK TRUCK CAB - DUSK
J.J.'s driving down a country dirt road. He spots a broken
down home that looks like death wouldn't enter. He slows
down.
EXT. OLD BROKEN DOWN HOME - CONTINUOUS
J.J. and Ben slowly creep up to the home.
It's dimly lit but the television light is noticeable from a
front window. J.J. peeks into the window and sees no one.
He opens the door and begins to creep inside with Ben
following after.
INT. OLD BROKEN DOWN HOME/LIVING ROOM - CONTINUOUS
A couple of KIDS sleep on an old couch in front of a TV.
J.J. motions to Ben to keep quiet.
J.J. and Ben fumble around inside this unknown home. Ben
knocks over an old fruit jar that was sitting on a table. It
CRASHES to the floor.
A woman's voice is heard from an adjoining room.
NORMA JEAN (V.O.)
(stern)
You boys get on to bed?
The woman opens the door to the adjoining room and is
startled by the sight of Ben.
She grabs at a shotgun and as it comes into full view. She
cocks the double hammer to pull the trigger.
John-John leaps, yanking at the shotgun. A shot BLASTS into
the roof, knocking NORMA JEAN down and into the light.
Norma Jean's truly white trash but she's voluptuous, looking
like the creature from the bleach lagoon.
Debris falls from the ceiling.
Norma Jean scrambles for the shotgun. J.J. steps onto the
gun.
JOHN-JOHN
I'm sorry to frighten you Ma'am. We
don't mean you no harm. We just want to
get somethin' to eat, rest for a while
and then be on our way.
She releases the grip on the gun.
JOHN-JOHN (CONT'D)
Damn, kids'll sleep through just about
anything.
NORMA JEAN
(casually)
If you're aimin' to steal somethin' you
came to the wrong place honey. Them's
two are the only thing I got.
JOHN-JOHN
Where's their daddy?
NORMA JEAN
How in the hell should I know.
J.J. peeks into the adjoining room.
NORMA JEAN (CONT'D)
You boys done somethin' wrong?
JOHN-JOHN
We'z just a menace to society Ma'am.
J.J. puts out his hand to help her up. She takes it and he
raises her up.
Norma Jean stands up and brushes herself off.
NORMA JEAN
I got some left over stew. Will that
do?
JOHN-JOHN
That's fine. Sorry to inconvenience you.
She switches on the kitchen light and shuffles around a
couple pots and pans.
She sets a couple of generic beers on the table.
BEN
Can I have a Mountain Dew?
NORMA JEAN
Sorry sugar, I don't have any.
Ben picks one up and sips it making a face like he just bit
into an onion.
NORMA JEAN (CONT'D)
Anyways, what you fella's done? Let me
guess. Robbery? Escaped from prison?
JOHN-JOHN
Worse than that!
NORMA JEAN
What could be worse than that? You
killed someone?
Ben takes another sip and squints.
JOHN-JOHN
(chuckling)
Worse than that... Escaped from a loony
bin.
She changes her demeanor from casual to concerned.
NORMA JEAN
Oh, c'mon now sugar don't you be pullin'
my leg like that. You're about to scare
me out of my skin.
JOHN-JOHN
That don't sound like such a bad idea.
NORMA JEAN
I said my skin not my clothes.
John-John pulls her toward him. She slithers out of his
grasp.
NORMA JEAN (CONT'D)
What's your names anyway? You do got
names don't you?
JOHN-JOHN
This is Ben and I'm J.J.
Norma Jean slides over to J.J.
NORMA JEAN
I'm Norma Jean. I was named after
Marilyn.
JOHN-JOHN
If you was named after Marilyn then how
come you ain't named Marilyn?
Ben sips his beer again.
NORMA JEAN
(to Ben)
Honey, what on earth happened to you?
You poor thing. Let me clean you up a
bit.
She takes a wet towel and begins to wash-up Ben's cut.
JOHN-JOHN
What's in that garage out back? You got
a car?
Norma nods her head no.
JOHN-JOHN (CONT'D)
Are you positive?
NORMA JEAN
Sweetie, everyone knows that only fools
are positive.
JOHN-JOHN
Are you sure about that?
NORMA JEAN
I'm quite positive.
JOHN-JOHN
Well, I don't exactly mean to change the
subject but from where I'm sittin' over
here, you look like you got one hell of a
chassis yourself.
Norma shakes her head no playfully. In between this cat and
mouse head shaking, Ben is indecisive, shaking his head yes
and no. Playing along.
J.J. shakes his head yes.
Norma shakes her head no, more intently.
J.J. shakes his head yes, very assertive.
INT. NORMA JEAN'S BEDROOM - EARLY MORNING
A cock crows.
John-John awakens from sleeping next to the Norma Jean. Her
back is nude and her bottom is covered by the bedsheet.
INT. OLD BROKEN DOWN HOME/LIVING ROOM - CONTINUOUS
John-John walks out into the living area and sees Ben in the
corner asleep next to the two small boys. J.J. stretches.
EXT. OLD BROKEN DOWN HOME - CONTINUOUS
J.J. walks out into the yard. He checks out the garage.
It's empty. He spots an old barn out back and walks to it.
EXT. BARN - CONTINUOUS
J.J. opens the barn door. Lo and behold, a beautifully
restored, bright red, 57 Chevy P.U. truck with white
interior. This truck is immaculate.
His facial expression shows, he knows that another woman lied
to him.
He runs back toward the house.
INT. NORMA JEAN'S BEDROOM - CONTINUOUS
J.J opens the door, walks rapidly up to the bed and kicks
Norma Jean awake. She rolls over startled.
JOHN-JOHN
Woman wake up.
NORMA JEAN
Is that any way to say good-morning?
JOHN-JOHN
I thought you said you don't have a car?
NORMA JEAN
I don't.
JOHN-JOHN
Then what do you call that in the barn?
NORMA JEAN
There ain't no car in the barn. At least
not the last time I looked.
JOHN-JOHN
Don't play me for a fool. Who's is it?
NORMA JEAN
It's a truck not a car and its my
husbands.
JOHN-JOHN
Husband! I thought you told me them kids
didn't have no daddy?
NORMA JEAN
Everybody has a daddy. And what I said
was I didn't know where he was. And I
don't. He's a trucker. He shows his
face around here whenever he pleases. I
been thinkin' 'bout runnin' off and
leavin' him anyway.
JOHN-JOHN
Well, then I guess you won't mind much if
I borrow his wheels?
NORMA JEAN
(laughing)
I can't wait to see the look on his face
when he shows himself and that things
gone. He cares more for that darn truck
than he ever cared for me and the boys.
INT. OLD BROKEN DOWN HOME/LIVING ROOM - CONTINUOUS
John-John walks into the living room and nudges Ben who's
sleeping next to the kids.
JOHN-JOHN
C'mon Ben, we're hittin' the road.
EXT. BARN - CONTINUOUS
The red Chevy truck exits the barn. Norma stands on the
porch with her kids.
The truck disappears down the road.
Norma smacks one of the kids on the ass.
NORMA JEAN
(to the kids)
Git on in for breakfast.
EXT. HIGHWAY - DAY
Hiding behind some old brush is a typical speed trap RADAR
COP. The radar reads 88 m.p.h.
John-John speeds past.
The radar cop car pulls out of the brush, sirens WAILING.
INT. RED TRUCK CAB - CONTINUOUS
JOHN-JOHN
Oh, lordy lordy, looky here. We got us
some manipulation.
BEN
(excited)
It's Uncle Jim!
JOHN-JOHN
Right now I sure wish it was.
J.J.'s mind is racing a million miles an hour looking out the
rear view mirror at the flashing lights. He pulls over.
J.J.'s opens the glove box and removes the 9mm. He slips it
onto the seat under his leg.
The radar cop approaches the truck.
EXT. ROADSIDE - CONTINUOUS
A typical cop stance.
RADAR COP
You in a hurry to put out a fire?
JOHN-JOHN
Bad choice of words.
The radar cop realizes his blunder when he looks at Ben.
RADAR COP
I'm awfully sorry. Just give me your
license and registration, sir.
JOHN-JOHN
Well, you see officer it's not my truck.
It's a friends. Well, actually he ain't
exactly what you'd call my friend either.
He's my boss and he don't know that I got
his baby.
RADAR COP
Well, I'm assuming that you're in a bit
of hot water right now with your boss
mister.
J.J. hands the radar cop his license.
RADAR COP (CONT'D)
I'll tell you what, if the vehicle comes
up clean I'll let you go with just a
ticket for speeding. How's that sound to
ya?
JOHN-JOHN
Sounds mighty friendly of you officer.
I'd sure hate to lose my job over joy
ridin' the bosses pride and joy.
The radar cop goes back to his car and sits. He calls in his
description. This is seen through the Chevy truck rear view
mirror.
J.J. plays with the trigger of his gun.
The radar cop returns to the truck.
EXT. ROADSIDE - CONTINUOUS
The radar cop approaches the P.U.
RADAR COP
Well, it comes up clean. Tell you what,
I'm not going to write you a summons this
time. Just be a bit more careful next
time. Drive friendly!
The radar cop walks back to his patrol car. His radio begins
to send a alert that is not audible for J.J.
Just as J.J. starts the vehicle.
The radar cop draws his gun and crouches behind his open
door.
RADAR COP (CONT'D)
(shouting to J.J.)
You, on the drivers side. Get out of the
vehicle slowly. Make sure I can see both
of your hands at all times.
J.J. doesn't know what move to make. He continues to toy
with the handle on his 9mm.
J.J. hesitates, then slams the truck into reverse, tires
squeal and smoke as the radar cop shoots out the rear window.
The truck rams the radar cop's patrol car knocking him to the
pavement. His gun flies across the roadway spinning to a
halt.
The radar cop cringes in pain having injured his leg.
EXT. ROADSIDE - CONTINUOUS
J.J. exits the damaged truck retrieving the radar cop's gun.
The radar cop grimaces in pain.
JOHN-JOHN
You had to go and do it didn't you? Now
what am I going to do? What am I gonna
do? You hurt bad?
RADAR COP
My leg. My leg!
JOHN-JOHN
I guess I'm gonna have to kill you.
J.J. walks toward the radar cop with his gun cocked and
drawn.
RADAR COP
No. Wait, wait. Let's work this thing
out. Think of what you're doin'. I got
me a wife and a newborn at home.
JOHN-JOHN
(laughing as he reaches the
cop)
I always wanted to do that. Don't worry,
I ain't gonna kill ya.
The truck horn BLARES. It's Ben, he's looking out of the
shattered trucks back window at J.J.
He's violently contorting and shaking his head no. Ben
continues to lay on the horn.
J.J. grabs the radar cop by the collar and drags him to his
patrol car. The radar cop grimaces in pain.
RADAR COP
(yelling aloud)
It's broken for sure.
J.J. rips out the radio. He helps the radar cop into the
back seat. He shoots out a couple of the patrol vehicle' s
tires.
JOHN-JOHN
I'm real sorry about this mister, but as
soon as we get far enough down the road
I'll be sure to phone you some help. It
won't be too long. Scouts honor.
J.J. pushes the vehicle into the roadside shrubbery.
J.J. walks back to the truck.
INT. RED TRUCK CAB - CONTINUOUS
J.J. jumps into the truck. He puts the radar cop's gun in
the glove box.
JOHN-JOHN
Damn, I'm startin' to develop quite a
collection.
BEN
You hurt a policeman. They're good and
kind and Uncle Jim is a policeman too.
Ben begins to space out. J.J. feels the remorse. More for
putting Ben through this and less for his own actions.
JOHN-JOHN
He's all right. I didn't hurt him. I
promise, he's OK.
BEN
I want to go home.
JOHN-JOHN
Ok, we're gonna go home. We just got one
more stop to make.
The truck surges forward.
EXT. RED TRUCK CAB - DAY
The truck continues down a highway leaving in it's wake a
cloud of dust.
The scenery becomes more beautiful as they travel further
North. Mountainous terrain and wide expanses.
They pass a sign that reads, Bob's Truck-Stop Ten Miles
Ahead.
EXT. BOB'S TRUCK-STOP - CONTINUOUS
They pull into Bob's Truck-Stop.
INT. BOB'S TRUCK-STOP - CONTINUOUS
They enter. There's a few TRUCKERS sitting at the counter.
JOHN-JOHN
The bathrooms over there. You gonna be
OK?
Ben shakes his head yes and holding his groin area, races
clumsily into the bathroom.
John-John goes to the phone and dials 911.
JOHN-JOHN (CONT'D)
(phone conversation)
Listen, there's a police officer stuck in
his car in the woods off of I-12 in...
John-John voice trails as he sees two New Mexico STATE
TROOPERS enter the truck stop.
JOHN-JOHN (CONT'D)
You better get someone out to Willis
Canyon Road immediately there's an
injured officer and he needs some
assistance.
One of the officers speaks to the WAITRESS.
STATE TROOPER
Do you happen to know who owns that red
truck out there?
WAITRESS
(nodding no)
I've never seen them before... But, I
saw them go into the restroom over there.
One of the troopers begin to walk toward the restroom/phone
area.
John-John drops the receiver and pulls his gun. The trooper
continues to walk toward the restroom/phone area. J.J. backs
himself into the corner, his gun drawn and aimed.
The phone handle swings again and again into the hallway area
as the trooper walks toward it.
As the trooper approaches the corner a RADIO DISPATCHER
places an officer in distress call.
RADIO DISPATCHER (V.O.)
We have an officer down on Willis Canyon
Road. All officers in the vicinity
respond immediately.
STATE TROOPER TWO
Forget it.
(Trooper One stops in his
tracks)
Officer down. Let's go.
The two troopers rush out the door.
Ben exits the bathroom. J.J.'s in a firing position up
against the wall.
INT. BOB'S TRUCK-STOP - CONTINUOUS
As J.J. and Ben sit at a table, the waitress comes over to
take their order.
WAITRESS
What can I get you boys?
JOHN-JOHN
Just some eggs, toast and coffee.
Ben tugs at J.J.'s sleeve. He points to the tiny boxes of
Frosted Flakes.
JOHN-JOHN (CONT'D)
Yeah, some cereal as well?
WAITRESS
Certainly.
J.J. notices a display of colorful boxes that look like gift
wrapped goodies.
JOHN-JOHN
Hey, what you got in them boxes?
WAITRESS
Them's homemade pies.
JOHN-JOHN
(to Ben)
We gonna have to gitch you one of them.
J.J. watches as another trooper speeds past the window, with
red lights flashing.
DISSOLVE:
INT. RED TRUCK CAB - CLOSE TO SUNSET
J.J. passes THE APOSTOLIC WAY church. Families begin to
pile inside for a Sunday evening service.
EXT. LONG-SHOT OF STREET - CLOSE TO SUNSET
The quiet street is empty.
EXT. ROW OF TYPICAL HOUSES ON A QUIET STREET - SUNSET
J.J. slowly drives up to a wood frame house and stops.
JOHN-JOHN
Well, I'll be. This is it.
EXT. WOOD FRAME HOME - SUNSET
The well kept home is quaint. It sits in a lower/middle
class neighborhood.
JOHN-JOHN
Someone's doin' fairly well these days.
Fairly well! Fair thee well.
The front porch light is lit and there's no car in front of
the home.
JOHN-JOHN (CONT'D)
This is going to be educational and
inspirational.
EXT. WOOD FRAME HOME - SUNSET
John-John and Ben are standing on the lawn of the home.
They walk up to the porch, which has a white porch swing.
There is a welcome mat and J.J. looks down at it.
J.J. pushes the swing gently as if rocking a cradle. He
knocks on the door. There's no answer.
JOHN-JOHN
I guess we're welcome to hep-r-sef. See,
it says welcome. Welcome, brother Ben.
(laughs)
Well, let's go inside and have us a look
see.
J.J. smashes a plate of glass in the door with his fist and
unlocks it. The door wasn't locked but his hand is badly
cut.
JOHN-JOHN (CONT'D)
The door wasn't even locked.
They enter the home.
INT. WOOD FRAME HOME - CONTINUOUS
Incensed, J.J. strolls from room to room. He observes the
knickknacks, knocking some over.
He steps on a squeaky toy and looking down, spots an array of
children's toys. He kicks some items out of his way as his
father did on that Christmas morning.
J.J. stumbles upon a family photo, which is hanging in the
dining room. The photo is of an older Johnny Sr., his WIFE
and TWO YOUNG BOYS.
Ben calls J.J. from a room down the hall.
BEN
John-John come here. Look at this!
He finds Ben playing with a DALMATIAN puppy in the boy's
bedroom.
The room is bright. There are two single beds on each side
of the room. J.J. bends down and pets the puppy.
JOHN-JOHN
That's a real nice pup Ben. If you want
it, it's yours.
BEN
Oh, I cannot take this pup. It belongs
to some little children. I know that it
belongs to some little children because
this is the room where little children
sleep. I cannot take the puppy.
The little children will be sad when they
come home and the puppy would be gone.
J.J. gets up in the middle of Ben's speech and walks into an
adjoining room. It's the parent's room.
J.J. rips one of the white pillow case covers and wraps it
around his bloodied hand. There's a bible on the nightstand.
A picture of Jesus hangs by the bed.
J.J. heads toward the kitchen door. He sees the shed
outback.
EXT. WOOD FRAME HOME - CONTINUOUS
J.J. goes to the shed. He picks up an old shovel and beats
the lock off the shed door. He finds a bent up old can of
gasoline by a lawn mower and heads back to the house.
INT. WOOD FRAME HOME - CONTINUOUS
J.J. begins to spread gasoline throughout the house.
Starting with the parent's room. He splashes gasoline on the
bed and sets it on fire. The flames rise above the burning
bed and onto the picture of Jesus.
J.J. moves into the children's bedroom. Ben watches and
begins to understand what J.J. is doing.
JOHN-JOHN
Grab that puppy and go outside.
BEN
No!
JOHN-JOHN
Just do as I say.
Ben picks up the small puppy. He has the look of fear in his
eyes as he holds the puppy tight. He runs back out into the
front room. The fire has already begun.
J.J. spreads the remainder of the gasoline in the family room
and he sees his own reflection in the long mirror that hangs
on the wall. He throws the empty can into the mirror
smashing it.
JOHN-JOHN (CONT'D)
Let's go.
BEN
(loudly)
No. John-John. No!
JOHN-JOHN
Let's git. Now!
J.J. grabs Ben's arm and pulls him out the front door.
EXT. WOOD FRAME HOME - CONTINUOUS
The house is now engulfed in flames and the fire burns in
J.J.'s eyes. Ben rocks in place hugging the puppy as he
cries.
Neighbors are alarmed by the fire. They silently stand by
watching the flames rise higher and higher.
JOHN-JOHN
Ben, let's go!
Ben runs to the truck holding the puppy and gets in. He
falls into one of his trances. John-John takes off. The
fire is growing behind them as J.J. drives on.
JOHN-JOHN (CONT'D)
Sunday evening. Church! They're at that
goddamn church.
EXT. CHURCH - NIGHT
J.J. pulls into the church parking lot.
INT. RED TRUCK CAB - NIGHT
Ben is confused and frightened. J.J. takes the puppy and
puts it behind the seat of the truck. He hands Ben the pie
box.
JOHN-JOHN
(not angry, matter of fact)
C'mon, Ben it's time to meet your maker.
EXT. CHURCH - NIGHT
The small wooden building is a relic of it's past when Holy
Rollers were a part of the American religious movement.
An old wooden cross stands tall and firm, directly in front
of the path that J.J. takes as he enters the church. He
stops in front of the cross.
There's a sign that reads, REVIVAL MEETING TONIGHT: ALL ARE
WELCOME.
John-John turns to Ben who is caring the pie box.
JOHN-JOHN
Know what this is Ben? This is the
beginning of the end. They call it
Armageddon. Let's go inside and partake
in this holy annihilation.
INT. CHURCH - NIGHT
The congregation is filled to overflowing.
The church interior looks like most drab churches.
The faithful MUSICIANS all males with short-cropped hair and
dressed in long sleeved, white shirts and long thin ties play
the song, Over In The Glory Land.
The whole congregation sings along to a feverish pitch. The
churchgoers are truly faithful.
The WOMEN each with hair up in buns, are wearing long sleeve
dresses that drape almost to the floor.
BROTHER TILDEN, wears a worn two piece Sears Polyester suit.
He takes to the pulpit.
The congregation's on their feet. Some are moved by the
spirit speaking in tongues, others dance as the church is
filled with a spiritually frightening frenzy.
J.J. and Ben enter and are greeted by a smiling BIG BURLY
FELLOW.
J.J. hugs the fellow.
JOHN-JOHN
Praise the load.
BIG BURLY FELLOW
(smiling)
Praise the Lord.
J.J. immediately begins to dance holy roller style down the
aisle toward the front of the church. The congregation takes
notice of his zealous spirit.
He then takes a younger woman that is wearing a white dress
by the hand and begins to dance with her and spins her about
over and over. She tries to pull away. He gets her white
dress bloodied from his bleeding hand.
The congregation is appalled and the musicians one by one
stop playing as silence falls over the church. J.J.
continues to dance about.
JOHN-JOHN
Why'd you stop for?
The friendly big burly fellow walks over to J.J.
BIG BURLY FELLOW
Sir, would you mind steppin' outside
please.
J.J. pulls out his 9mm handgun and points it in the man's
face.
Some of the congregation's women let out a scream, while
others begin to pray aloud.
JOHN-JOHN
If you want, I'll see to it that you bust
them pearly gates open right now?
The big burly fellow freezes in place.
JOHN-JOHN (CONT'D)
Didn't think so.
J.J. begins to slowly walk toward the pulpit, giving the once
over to the congregation.
JOHN-JOHN (CONT'D)
This is rich. This is real rich. The
biggest congregation of contradiction
I've seen since the fall of Jim Faker and
Jimmy (I did) Swagger. I can't remember
being so touched since I heard Immoral
Robert's begging for ten million dollars.
J.J. is now at the front of the church.
JOHN-JOHN (CONT'D)
(to the musicians and Tilden)
This will all be over before you know it.
I just came to pay a visit to my dear ol'
paw. Johnny Sr. make yourself known.
J.J. gestures for the folks at the front of the church to get
down and be seated.
The musicians and guest speaker leave the altar and go to
their respective families.
From the second row a vaguely familiar, sober, spiritual man
stands tall. Johnny Sr. has short-cropped hair it's no
longer jet black and greased. He's graying and aging.
JOHNNY SR.
I'm your daddy son.
Silence as the two swap looks at each other for the first
time in twenty years. The man that J.J. once knew was not
familiar to his recollection. This is obvious in J.J.'s
expression.
JOHN-JOHN
Johnny Sr. come on down. Hell, you may
have already won 10 million dollars.
JOHNNY SR.
Excuse me.
Johnny Sr. stoically makes his way past the row of worried
faces. He walks tall, yet humbled to the front of the
church. He stops in front of J.J. who's still behind the
pulpit.
JOHN-JOHN
Well, for once I'm speechless.
JOHNNY SR.
I see you got my letter.
John-John reaches into his pocket.
JOHN-JOHN
You mean this letter, the one that starts
out Dear John? A dear John letter.
Well, now I'm a John Deer tractor rollin'
you over and a under.
J.J. throws the letter in his father's face.
JOHN-JOHN (CONT'D)
I got a special holiday gift just for
you. And. Oh, I am gonna enjoy giving it
to you. And I ain't just whistlin' a
dixie melody.
J.J. steps down from behind the pulpit and continues.
JOHN-JOHN (CONT'D)
Ben!
(to Johnny Sr.)
You do remember Ben don't you? Ben, come
on up here. Don't be shy. Come on up
here and meet your daddy.
From the back row Ben stands and approaches the altar
carrying the wrapped pie box.
Ben walks straight to his father and stops in front of him.
There is a long pause.
Johnny Sr. explodes with tears, crying aloud.
JOHN-JOHN (CONT'D)
Merry f'n Christmas.
J.J. hands the package to his father and then snatches it
back.
JOHN-JOHN (CONT'D)
Let's see what Santa brought you for
Christmas boy.
J.J. opens the box and pulls out his .45
J.J. spins his bullet chamber.
JOHN-JOHN (CONT'D)
Can you name that tune?
He snaps the gun shut on his father's forehead.
Overwhelmed with emotion Johnny Sr. slowly sinks to his knees
uncontrollably sobbing.
JOHNNY SR.
Dear God, what have I done?
Ben kneels down to Johnny SR.
BEN
What's wrong? Why are you crying?
Ben takes Johnny Sr. by the hand. John-John kicks his
father.
JOHN-JOHN
I'll give you somethin' to cry about.
J.J. pulls Ben away from Johnny Sr.
JOHN-JOHN (CONT'D)
What is the matter with you? This is the
man that ruined your life for Christ's
sakes.
J.J. kicks his father again.
JOHN-JOHN (CONT'D)
How's it feel now that we're big enough
to fight back? How's it feel now?
J.J. kicks him again.
Johnny Sr.' boy, BILLY (9) who is similar in age and features
as J.J. as a child stands.
BILLY
(crying out)
Leave my daddy alone.
JOHN-JOHN
Daddy. That is such a wonderful word.
Why, it's music to my ears. Now, I want
you to let these people know what a
wonderful Daddy you really are.
Preacher Tilden stands.
PREACHER TILDEN
This man has hidden nothing from us.
JOHN-JOHN
Save the preachin' for the sermon
preacher man.
PREACHER TILDEN
Let the man be, let God judge over this
matter.
JOHN-JOHN
Was I talking to you?
Precher Tilden doesn't return an answer.
JOHN-JOHN (CONT'D)
(yelling now)
I said was I talking to you?
J.J. goes over to Preacher Tilden and grabbing his face,
pushes him into his seat.
JOHN-JOHN (CONT'D)
No, I was not talking to you is the
correct response.
JOHNNY SR.' WIFE stands. She's a thin attractive woman with
an upright posture.
JOHNNY SR.' WIFE
It's true. He's a good man. He regrets
the day he ever drank or hurt anyone of
you. Especially your mother! If he
could turn back the clock, God knows that
he would. But he cannot.
JOHNNY SR.
Forgive me son.
JOHN-JOHN
Forgive you? Look at what you have done
to Ben. Look at what you did to your own
flesh and blood.
JOHNNY SR.
There's nothing that I can say for what I
have done. I'm truly sorry.
J.J. grabs his fathers by the hair.
JOHN-JOHN
You're sorry alright. Now, take a good
look at that boy , because it will be the
last time you'll ever look at him again.
JOHNNY SR.
I always knew that this day would come,
just as sure as the sun would shine.
But, I have to tell you something.
Something, that doesn't much matter now.
JOHN-JOHN
Humor me.
JOHNNY SR.
Ben, is not my son!
J.J. doesn't wants to believe what he hears.
JOHN-JOHN
You're a liar. You're a goddamn liar.
First you kill her and then you're tryin'
to make Momma out to be a whore.
JOHNNY SR.
Your mother was a wonderful woman Johnny.
But Ben is not my son. He's Tarbell's
son.
J.J. bends down grabbing the collar of his father's shirt.
JOHN-JOHN
Say it. Say that he's your son.
JOHNNY SR.
I'm sorry for any harm I may have caused
that boy. But Johnny, he's not my son.
JOHN-JOHN
And neither am I.
J.J. pulls back the hammer on the gun.
JOHNNY SR.
If you have that much hatred in your
heart, then do as you will son. I've
made my peace with God.
Billy climbs over the pew.
BILLY
(screaming frantically)
Daddy!
He runs to J.J. and begins to punch and kick him.
JOHNNY SR.' WIFE
Please, in God's name. No.
J.J. sets the gun to the temple of his father's head. Johnny
Sr. humbly looks down. J.J. pulls back on the trigger.
Suddenly a hand reaches in and places it onto the gun.
It's Ben's hand.
BEN
(softly)
No, John-John, no more bad things.
Ben slowly lowers the gun to the ground.
J.J. and Ben exchange looks. Ben shakes his head no.
BEN (CONT'D)
No more bad things.
The church entrance flies open. It's a local SHERRIFF and
DEPUTIES, guns drawn, Uncle Jim and Deputy Kelly.
UNCLE JIM
Don't shoot!
J.J. grabs Billy.
JOHN-JOHN
Nice to see you Uncle Jim. I suggest you
boys drop those guns and step back
outside.
J.J. slowly heads for the front door taking the boy with him.
JOHN-JOHN (CONT'D)
(to his father)
Now it's your turn to learn the meaning
of sacrifice.
UNCLE JIM
This isn't going to accomplish anything.
JOHN-JOHN
I disagree. It's goin' to get me out
that door.
UNCLE JIM
(to the local Sheriff)
Put down your guns.
The sheriff's holster their pistols.
JOHN-JOHN
Now back off!
They do.
JOHN-JOHN (CONT'D)
Ben, let's go!
BEN
Let the little boy go. Let him go.
JOHN-JOHN
C'mon, Ben. Let's go. Now!
J.J. grabs Ben and pulls him forward still holding Billy.
J.J. slips past the cops.
EXT. CHURCH - CONTINUOUS
J.J. makes his way to the truck, opens the door tossing the
kid on the seat. J.J. shouts to Uncle Jim.
JOHN-JOHN
Uncle Jim, don't follow us. I'll let the
boy go as soon as I know I'm safe away.
UNCLE JIM
You're a damn fool. You really got a
death wish don't you boy?
JOHN-JOHN
If I die. I die. Anyway, I accomplished
what I set out to do.
UNCLE JIM
And what was that?
JOHN-JOHN
To give Ben one hell of a birthday. I
guess I did that now didn't I?
UNCLE JIM
I'd say you gave him a helluva birthday
J.J.
J.J. jumps in the truck and speeds off. Kelly and Uncle Jim
stand in the church doorway.
SHERIFF
If you think I'm gonna stand here while
he rides off into the sunset you got
another thing comin'.
The Sheriff races for his car radio.
Uncle Jim turns to look into the church and Johnny Sr.' wife
is at his side weeping.
JOHNNY SR.' WIFE
My baby! My child!
UNCLE JIM
(to Johnny Sr.)
He burned down your house. There's
nothing left.
INT. RED TRUCK CAB - NIGHT
The truck is blazing down a country road.
Billy sits in stone cold and frightened silence between J.J.
and Ben.
J.J. tries to break the ice with the kid.
JOHN-JOHN
Don't worry we ain't gonna hurt you none.
Ben remembers the puppy. He reaches behind the cab and pulls
it out from behind the seat. Ben pets the puppy, handing it
to the boy.
The boy wipes away his tears and takes the puppy from Ben.
BILLY
(still kinda crying)
That's my dog.
BEN
(to John-John)
I told you not to take things that
doesn't belong to you.
(to Billy)
I told him.
Ben reaches out to pet the puppy. Billy shows a little trust
by allowing Ben to pet the dog.
The frightened kid holds his puppy tight to his breast, like
a security blanket.
JOHN-JOHN
So, what's your name kid?
No answer.
JOHN-JOHN (CONT'D)
What's the matter, cat got your tongue?
BILLY
Why was you tryin' to hurt my father?
JOHN-JOHN
I wasn't gonna hurt him. I was just
trying to give him a scare.
BILLY
But, why? He's my father.
JOHN-JOHN
He's my daddy too.
BILLY
I know. He's always talkin' about his
big son. He's always sayin' how he'd
like to see his big son again someday.
JOHN-JOHN
Really? He said that?
BILLY
Yes.
JOHN-JOHN
He said that did he?
INT. RED TRUCK CAB - LATER SAME NIGHT
Billy and Ben are fast asleep as J.J. continues to drive. He
takes off his jacket and covers Billy with it.
EXT. DESOLATE AND RUNDOWN HOTEL - NIGHT
The vacancy sign flashes.
INT. HOTEL ROOM - NIGHT
J.J.'s carrying the kid over his shoulder. He dumps him onto
one of the beds. The boy starts to wake-up.
The tired Ben immediately heads straight for the bathroom.
J.J. walks toward the TV and turns it on. He goes over to a
chair and sits down and begins to flip through the channels
with the remote that is chained to the wall.
J.J. stops channel surfing on an old TV show sitcom.
Billy gets off of the bed and walks over to the TV and turns
it off.
JOHN-JOHN
You don't feel like watchin' TV?
BILLY
Watchin' that kinda TV is a sin.
JOHN-JOHN
Who put those thoughts into your head?
The kid shrugs his shoulders.
JOHN-JOHN (CONT'D)
I know what they're gettin' at, Maw-Maw's
always harpin' on about too much TV is no
good for you. But there's plenty of good
stuff to watch.
J.J. turns the TV back on.
He flips through various shows until he comes across a
picture of Billy on the news. J.J. feels a bit shameful and
continues to flip through the channels.
BILLY
That's me! Why'd you turn it off!
Billy takes the remote and turns back to the channel.
A picture of J.J. appears on the screen replacing the picture
of Billy.
TV NEWSCASTER (V.O.)
John Sterling Jr. is a heavily armed man
wanted for armed robbery, felony assault
on a police officer, arson and
kidnapping. If you have any information
that can lead to the arrest of this man,
contact your local authorities
immediately.
BILLY
You really did all that stuff?
JOHN-JOHN
Apparently so.
Ben flushes the toilet and exits the bathroom.
BILLY
Looks like you're in big trouble. What
are you gonna do?
JOHN-JOHN
Get you somethin' to eat. That's what.
You hungry?
The boys shrugs.
JOHN-JOHN (CONT'D)
I'll tell ya what. If you don't give
Ben here any trouble, I'll go and round
us up some grub. How's that sound?
The kid shakes his head yes. Ben is by now over on the bed
and playing with the puppy.
JOHN-JOHN (CONT'D)
Ben, I'll be back in a few minutes. Keep
an eye on the kid for me will you?
J.J. exits the room. He leans against the door as if he has
been backed into a corner.
INT. POLICE STATION - SAME NIGHT
Cops fill a squad room.
The no-nonsense local police, SERGEANT YORK is prepping his
officers for the nights breakdown. The squatty York sports a
flattop crewcut with a mug that you'd mistake for a
terrorizing bulldog.
The OFFICERS are anxious and noisy.
YORK
Alright, everybody listen up.
The room quiets down.
An OFFICER begins to pass around mug shots of J.J.
YORK (CONT'D)
We got a serious problem on our hands.
This fugitive is armed and dangerous.
We've got some serious obstacles to
overcome in apprehending him. Namely, a
nine year old boy hostage. And he's also
kidnapped his brother from a mental
hospital back in Mississippi. Who knows
what this guy is capable of doing.
York points to a map of this local community.
YORK (CONT'D)
We know he's still in the vicinity. It's
just a matter of time before we flush him
out. This is our objective. We need
road blocks at all points that lead out
of the county. I don't care if you bring
him in dead or alive.... but use all
precautionary methods not to harm that
kid. Now get out there and find Ôem.
The cops begin to disperse.
INT. HOTEL ROOM - LATER SAME NIGHT
J.J. enters the hotel room with an array of candy.
Billy is watching a western (Billy the Kid) on the TV. He's
got the remote control glued to his fingers and it's no
longer attached to the wall
Ben is sound asleep in the bed, next to the puppy.
JOHN-JOHN
I thought watchin' that kind of TV was a
sin?
J.J. sets the candy down next to Billy as if it's a peace
offering. He sits down next to the kid.
The kid's engulfed in the gun battle that is taking place on
the screen.
JOHN-JOHN (CONT'D)
Hey, looky there. It's Billy the Kid.
Man, when I was your age I was crazy
about Billy the Kid.
BILLY
Who's Billy the Kid?
JOHN-JOHN
Who's Billy the Kid? Why, he's the most
famous outlaw in the whole wild wild
west. One time he was in a shoot out
against the whole darn town. For
somethin' he didn't even do. I don't
remember how he got out of that one. But
he did. That Billy the Kid, he always
managed to come out clean.
BILLY
My names Billy.
JOHN-JOHN
You're pullin' my leg.
BILLY
Am not.
The kids eyes are stilled glued to the set.
J.J. jumps up and emulates drawing two six shooters.
JOHN-JOHN
Why, Billy was known as the fastest gun
that ever lived.
BILLY
No kiddin'?
Now J.J. has Billy's attention. The kid opens up a candy bar
and starts eating it.
JOHN-JOHN
Would I kid a kidder? Tell you what,
I'll make you a deal. You get on over
there next to Ben and get yourself some
shut-eye... at the crack of dawn I'll
teach you how to shoot a gun just like
ol' Billy the Kid. Deal?
J.J. extends his hand toward Billy. With chocolate on the
kid's face and a look of trust, he takes J.J.'s hand and
shakes it.
Billy crawls over next to Ben. He picks up his puppy and
cuddles it.
J.J. watches as the boy falls fast asleep.
EXT. RUNDOWN HOTEL - NEXT DAY
The red truck exits the hotel parking lot.
INT. RED TRUCK CAB - CONTINUOUS
JOHN-JOHN
So, like I was sayin' the crazy ol' fool
stepped out of the truck and right smack
dab in the middle of a nest of moccasins.
The only reason he never got bit was
Ôcause he jumped up and down like he was
some kinda crazy Indian on a war path.
BILLY
My paw did that?
Billy listens to J.J. as he continues to banter about his
father, and the good times.
JOHN-JOHN
Yeah, them's were the good ol' days.
BILLY
I'm hungry.
BEN
Yes, John-John. I am hungry too.
JOHN-JOHN
Then how Ôbout we go and get us somethin'
to eat?
EXT. GAS STATION - CONTINUOUS
J.J. pulls into a gas station.
JOHN-JOHN
This will only be a minute.
Across the street is a hamburger joint JOLLY O'S. A giant
looming clown towers over the place.
BEN
John-John. Look! I want to go there.
Over there.
BILLY
Me too?
J.J. knows that if he goes in that place he might be
recognized.
JOHN-JOHN
I'm just grabbin' us somethin' quick so's
we can get to shootin'.
BEN
I really want to go over there.
JOHN-JOHN
Ben, we can't.
BEN
How come?
JOHN-JOHN
We just can't.
Ben and Billy stare at the looming clown.
J.J. looks over at the hamburger joint.
EXT. JOLLY-O'S - CONTINUOUS
J.J.'s truck pulls into a Jolly-O's fast food hamburger
joint. Ben is amazed at the sight of the clown head.
BEN
Look! Look at that.
(Ben waves hello )
High.
J.J. parks the vehicle.
JOHN-JOHN
Let's go.
(to the kid)
Hold it. You ain't gonna do somethin'
stupid are you?
BILLY
Depends.
JOHN-JOHN
On what?
BILLY
If I can have anything I want.
JOHN-JOHN
How do I know I can trust you?
BILLY
You left me alone with Ben last night.
He fell asleep didn't he? I could have
ran away. Or called 911. I know about
things like that. Besides, you ain't got
much of a choice.
Billy hands the puppy to Ben.
JOHN-JOHN
Oh boy, you sure are pretty good at
turning these things around.
INT. JOLLY-O'S - CONTINUOUS
They're standing at the counter ready to place their order.
Only the boys face is visible from behind the counter. Ben
has the puppy in his jacket.
JOHN-JOHN
Alright! They got hamburgers,
cheeseburgers, bacon and cheese burgers,
avocado burgers and extra super spicy
green chili cheese burger.
He looks down at Billy.
BILLY
I want a chili-dog!
JOHN-JOHN
They ain't got no chili dog.
(to the counter person)
Give us three cheeseburgers. Three fries
and three chocolate shakes.
BILLY
I don't want no chocolate shake. I want
a fountain drink.
BEN
I don't want no chocolate shake neither.
I want Mountain Dew.
JOHN-JOHN
Fine! I don't particularly want one
either. Give us three cheeseburgers.
Three fries, two sodas and one cup of
coffee.
BEN
J.J., I don't want any fries.
BILLY
Me neither.
JOHN-JOHN
Fine! Give us three cheeseburgers, two
fountain drinks and one cup of coffee.
INT. RED TRUCK CAB - CONTINUOUS
Everyone's chewing away on their burgers as J.J. drives.
He comes to a stop at a red light. He nervously looks
around. He sees a costume shop.
JOHN-JOHN
(chewing his burger)
Looky there. You know what a real cowboy
needs before he learns how to shoot a
gun?
Billy shakes his head no.
JOHN-JOHN (CONT'D)
Some fancy cowboy duds.
The light turns green.
INT. COSTUME SHOP - CONTINUOUS
Billy opens saloon doors from a changing booth looking like
he's stepping into a saloon. He's decked out in full cowboy
regalia including shiny new six shooters, boots and cowboy
hat.
Ben steps out of the booth next to him. Ditto.
JOHN-JOHN
Now that's a cowboy.
EXT. STREET - LATER SAME DAY
J.J. turns onto a road and up ahead two cops have the street
blocked off. Ben and Billy are distracted playing with their
new toy guns.
BILLY
(to Ben)
If I'm Billy the Kid, who you gonna be?
BEN
I'm Ben.
BILLY
You can't be Ben. We're playing cowboys
and Indians. You gotta be somebody good.
J.J. makes a casually turn down another street to avoid the
cops and drives on.
He runs into another road block. This time Ben and Billy
notice. He makes another turn to avoid the police.
He comes upon a gas station and sees a phone booth. He pulls
into the station.
BILLY (CONT'D)
What're we stopping here for?
JOHN-JOHN
Billy the Kid. I got somethin' to show
you.
He exits the car and Ben and Billy follow.
J.J. walks over to a phone booth. He picks up an old bucket
that is next to a littered fence, sets it in the booth and
then picks up Billy and stands him upon the bucket.
JOHN-JOHN (CONT'D)
(talking like an old cowboy)
Kid. It's time we divvy up the booty and
go our own separate ways.
BILLY
What do you mean?
JOHN-JOHN
(very seriously)
I mean your parents must be worried sick
about you by now. You need to give them
a call and let them know you're alright
and that they can come and get you.
Adios Amigos. We'll cross paths again
someday.
J.J. closes the phone booth door and walks away toward the
truck.
The kid opens the door and runs to J.J. he's tugging onto
J.J.'s pant legs and not letting him go.
BILLY
I don't want to go home. I wanta go
shootin'.
JOHN-JOHN
(grabbing and shaking the kid)
This ain't no game kid. This is the real
deal. You ain't no cowboy. You ain't no
outlaw. Get the picture. Go home. Be a
kid.
A cop car comes around the corner and sees J.J. shaking
Billy. He puts on his flashing lights.
JOHN-JOHN (CONT'D)
Ben! Let's get the hell outta here.
J.J. beelines it toward the truck. He turns the key as Ben
climbs over the tailgate and into the back of the truck.
The kid runs toward the truck as it surges forward. Ben
extends his hand and pulls Billy into the back of the truck.
The police pursuit begins.
INT. RED TRUCK CAB - CONTINUOUS
Racing down a rural street J.J. looks out his rearview mirror
and spots the black and white in pursuit.
Ben and Billy clamor through the window and into the cab.
BILLY
What are we going to do now?
JOHN-JOHN
Hold on Billy boy. Just hold on.
EXT. STREET - CONTINUOUS
More cops pick up the trail and are in hot pursuit.
J.J. turns into on coming traffic, which lets him out of the
rural area and onto a main street.
Cars screech and squeal to get out of the way of the truck
and the pursuing police vehicles.
J.J. skids into a rail taking out the rear fender of the
truck.
INT. RED TRUCK CAB - CONTINUOUS
BILLY
There's a whole bunch of Ôem now.
JOHN-JOHN
Hold on kid. It's gonna be a rough ride.
BILLY
Think there's gonna be a shoot out? Ya
hoooooo! I feel like Billy the Kid now.
Billy picks up one of the real guns and points it out the
back window.
JOHN-JOHN
(grabbing the gun from the boy)
What're you crazy? You're gonna get your
head blowed off.
Billy points his six shooters out the back window.
BILLY
Pow. Pow. C'mon Ben back me up!
Billy continues to shoot during the chase to the Janis Martin
song, BANG BANG.
J.J. looks down at his fuel gauge, which is near empty.
EXT. STREET - CONTINUOUS
J.J. turns down another back-street.
The street is blocked. He spots two black and whites with
flashing lights directly in his path. He hits the gas.
JOHN-JOHN
Hold on boys!
The truck rams through the two vehicles.
BILLY
Yee haw!
J.J. looks back down at the gauge. It's below empty now.
JOHN-JOHN
Looks like we're gonna have to abandon
ship.
J.J. turns down a dirt road with more than a few black and
whites in hot pursuit.
A COWBOY riding a HORSE begins to cross the street directly
in the truck's path. The horse rears back and J.J. swerves
to avoid hitting it.
He loses control and plows into the front of an old country
store.
An elderly BLACK MAN, sippin' a lemonade is sitting on a
bench at the front of the store. He continues to sip his
lemonade as the vehicle comes to a halt.
Meanwhile, the smoke clears and the elderly black man on the
front porch get up and looks into the store at the store's
owner.
ELDERLY BLACK MAN
Nathaniel, it apparent you gonna be busy
here for a while. I'm a head over to
Joe's Place. I'll see you later.
He exits the porch.
INT. RED TRUCK CAB - CONTINUOUS
J.J. snaps out of a daze while the PATRONS of the business
begin to converge toward the vehicle.
J.J.'s head smashed the windshield of the vehicle and gave
him a nice cut on his head. A thick piece of wood from the
structure of the building pushed through the windshield.
A few police vehicles swiftly surround the building and begin
to take position outside of the store.
J.J. looks over onto the seat next to him, Ben is holding
Billy's head. Billy's knocked unconscious with a bleeding
head injury. Ben looks at his hands which are covered with
the kids blood.
BEN
J.J. what did you do?
J.J. shakes the unconscious boy.
JOHN-JOHN
Billy! Oh no, not the kid.
EXT. COUNTRY STORE - CONTINUOUS
Police and militia begin to dig in.
A group of crazy LOCAL BOYS start taking crack shots, firing
indiscriminately into the store. BLAM, BLAM.
The police join in shooting up the store.
INT. COUNTRY STORE - CONTINUOUS
Bullets whiz into the store exploding cans and packaged
goods.
J.J. ducks from the volley of gunfire while the store patrons
begin to hit the deck.
JOHN-JOHN
(shouting)
Ben, get that kid out of this truck and
keep your damn head down before it gets
shot off.
Ben carries Billy out of the truck as he dodges gunfire.
J.J. begins crawling under the debris, across the floor and
over to Ben and Billy. J.J. takes the kid from Ben.
JOHN-JOHN (CONT'D)
Everybody keep your heads down.
The store's owner NATHANIEL, another elderly black man that
exaggerates about everything is positioned further down on
the same aisle as J.J.
NATHANIEL
You must be crazy mister! Look at what
you done did to my store.
JOHN-JOHN
Everybody behind the counter now! Move
it!
NATHANIEL
Uh mmm, ain't no way I'm gettin'
behind that counter with you. You're
that crazy fool on TV what's shot up half
the damn county.
Everybody else scrambles behind the counter.
JOHN-JOHN
Mister you got two choices. Get behind
that counter with the rest of us or stay
out here and take your chances with them
good ol' boys.
J.J. moves behind the counter carrying the kid.
The store owner looks at J.J. and then out the store and then
crawls quickly behind the counter.
JOHN-JOHN (CONT'D)
(to Billy)
Kid. Kid? Everything is gonna be
alright. Just hang in there. I wouldn't
let anything happen to you.
BILLY
Don't let them take me J.J. It's a trap.
Remember, when the whole town was against
Billy the Kid for something he didn't
even do?
SHERRY, the store owner's daughter, a good looking woman with
a tough interior begins to blast J.J.
SHERRY
Look, I know you bit off more than you
can chew. But, there's a child's life on
the line.
BEN
J.J., you did many bad things. But you
did not kill anyone. If you let Billy
die, then he will never see his puppy
again.
BILLY
J.J., I'm scared.
SHERRY
He's lost a lot of blood. Look at him
J.J. You need to make the right decision
and you need to make it fast.
EXT. COUNTRY STORE - CONTINUOUS
Sergeant York screeches up to the front of the store and he
steps out of his vehicle. From York's POV it looks like a
shooting gallery at a county fair.
YORK
(to his officers)
Hold your fire. Hold your fire!
The officers stop shooting.
YORK (CONT'D)
(to one of his officers)
Goddamn it Bobby Joe, what in the hell
are you tryin' to do, cost me my job?
Get these gun toten' local yokels back
and keep them back.
(to the other cops)
I said get these sons a bitches out of
here.
The officers begin to push the local yokels back.
Uncle Jim's car screeches to a halt, pulling up to the front
of the building. He jumps out flashing his badge.
UNCLE JIM
What've we got?
YORK
We got a hostage situation right now. We
don't know how many.
UNCLE JIM
He's my nephew. If he'll cooperate with
anyone it'll be with me. I know J.J.
better than anyone. He may be crazy as
all hell. But he's not a homicidal
maniac.
YORK
Let's see? We got armed robbery and
assault. A cop with a broken leg, a
burnt down house, kidnap victims. And
this whole damn mess here. But he's not
a homicidal maniac?
UNCLE JIM
Just try to keep him calm.
YORK
You've been monicodlin' him for days.
What makes you think he'll cooperate with
you now?
UNCLE JIM
You got a better idea? I need some time.
I have an idea I'm sure that'll end this
whole mess.
YORK
You got exactly five minutes to convince
me.
(speaking into a bullhorn)
We've got the place surrounded. It's
time to give yourself up.
INT. COUNTRY STORE - CONTINUOUS
J.J. pointing to a couple of the store patrons that are now
HOSTAGES.
JOHN-JOHN
(shouting out to the cops)
I'm sending people out. Don't shoot!
YORK (V.O.)
(shouting to his men)
Hold your fire!
JOHN-JOHN
You, you. Get goin'.
The couple get up and run out the door.
SHERRY
That boy is bleeding terribly.
JOHN-JOHN
You got a first aid kit in here?
She nods her head yes, pointing to the bottom of the desk
drawer.
JOHN-JOHN (CONT'D)
(frantic)
Well, don't just sit there get me
somethin' to stop this bleeding.
With one sweep of his arm he clears a table behind the
counter that was displaying cigarettes and booze. J.J. lays
Billy down gently on the table.
JOHN-JOHN (CONT'D)
It wasn't supposed to turn out like this
kid.
BILLY
(in and out of consciousness)
This ain't the kind of shootin' I was
expecting.
The boy blacks out. Sherry opens up a first aid kit.
SHERRY
What are you going to do just let the kid
bleed to death?
JOHN-JOHN
Shut up. Shut the hell up. I got big
enough problems on my hands without any
of your lip.
SHERRY
That kid needs medical attention or he'll
die!
BEN
J.J. don't let Billy die.
JOHN-JOHN
(to Sherry)
That kid is my brother. Ain't nothinÔ
gonna happen to him. Nothin'!
SHERRY
In case you haven't noticed it already
has.
JOHN-JOHN
One more word out of you and I'll toss
you out to those trigger happy cops.
J.J.'s applies a bandage to Billy's head. The bleeding is
getting worse. J.J.'s gun is within inches from the grasp of
Sherry.
She eyes it intently, reaching over and taking the bandage
from J.J. instead.
SHERRY
Give me that.
Grabbing the bandage she starts to work on the boy.
The phone rings.
JOHN-JOHN
Yeah! Look my brother got hurt in the
crash. No not Ben, my kid brother.
(pause)
I don't know.
(to Store Owner)
How many we got here?
NATHANIEL
Five all together.
JOHN-JOHN
Five. No, nobody else is injured except
Billy. Look, get the kid a doctor quick.
He's bleedin' all over the place and I
can't make it stop.
(pause)
Get a doctor here. Now!
J.J. hangs up the phone.
JOHN-JOHN (CONT'D)
Old man, as soon as the doctor gets here.
You go.
NATHANIEL
I ain't got no problem with that, but
what about my daughter?
JOHN-JOHN
She stays with me.
SHERRY
If anything happens to that boy they'll
hang you to the nearest tree. Mark my
word.
JOHN-JOHN
You just better pray that they don't mess
with me. I already don't like you
anyhow.
EXT. COUNTRY STORE - CONTINUOUS
York fidgeting, looks down at his watch.
YORK
(to Uncle Jim)
That's it. I've given you your chance.
(to Jim Bob)
Get your boys prepared.
UNCLE JIM
You're out of your mind. You'll get
everybody killed in there.
(to one of his officers)
Get him out of here.
They grab Uncle Jim and start pulling him away.
Johnny Sr. appears, looking at the red P.U. truck sitting in
the store and buried in the debris. He accepts the
inevitable with a deep breath and a lowered head.
YORK
Who in the hell is this?
UNCLE JIM
It's J.J.'s father.
YORK
This is a hell of a time for a family
reunion.
JOHNNY SR.
Let me talk to my son.
Uncle Jim tries to hand Johnny Sr. the bullhorn. Johnny Sr.
does not see the gesture. He walks toward the store.
INT. COUNTRY STORE - CONTINUOUS
It's not looking good for the kid.
JOHN-JOHN
Kid, hang in there. They got a doctor
coming to help you. Just hang in there.
BILLY
(barely audible)
J.J., I don't want to die.
JOHN-JOHN
You ain't gonna die. I won't let you.
SHERRY
He's lost a lot of blood. Look at him
J.J. You need to make the right decision
and you need to make it fast.
Ben pushes J.J. away from the boy. He tries to pick up Billy
but J.J. interferes. Ben pushes J.J. away and instinctively
J.J. goes for his gun.
Sherry's father bee-lines it for the door.
J.J. shoots one shot toward him. Sherry screams as her
father makes it to safety.
EXT. COUNTRY STORE - CONTINUOUS
Nathaniel runs out of the store and past Johnny Sr. who is
standing near the entrance.
INT. COUNTRY STORE - CONTINUOUS
J.J. turns back to see Ben standing with Billy in his arms.
JOHN-JOHN
Put him down Ben.
BEN
I will not let Billy die.
Ben starts to walk through the myriad of debris.
JOHN-JOHN
Ben, put him down!
Ben continues to walk on.
JOHN-JOHN (CONT'D)
Ben!
J.J. points his gun at Ben's back. His hand tremble's
terribly.
SHERRY
You'd shoot your own brother in the back?
Ben exits the door holding the child.
EXT. COUNTRY STORE - CONTINUOUS
Ben walks straight over to Johnny Sr. and hands the child
over to him.
The ambulance sirens can be heard screaming as they approach
screaming in the distance.
BILLY
It ain't J.J.'s fault paw. He was taking
me home and then them cops started
shootin' at us.
JOHNNY SR.
That's one mighty fancy cowboy suit you
got there son. Just hang in there.
Everything's going to be alright.
BILLY
J.J. didn't mean no harm.
JOHNNY SR.
I know he didn't.
The ambulance arrives and Johnny Sr. walks straight toward
it. He lays his son on the stretcher.
BILLY
J.J. needs your help.
JOHNNY SR.
That's why I'm here.
He kisses his son on the forehead and turns back to the
country store.
INT. COUNTRY STORE - CONTINUOUS
JOHN-JOHN
(howling animalistically)
Ben!
J.J. turns the gun on Sherry. Teary eyed she stares him
down. He motions with the gun for her to leave.
JOHN-JOHN (CONT'D)
(defeated)
Get out.
She looks toward the front exit.
JOHN-JOHN (CONT'D)
(almost wailing)
Get out of here.
Sherry stands and with one last look at J.J. she turns to go.
Sherry turns back.
SHERRY
You did the right thing letting the boy
go.
JOHN-JOHN
I ain't never done the right thing. Not
once in my life. Get out of here before
I change my mind.
SHERRY
You take care J.J.
J.J. watches as Sherry leaves.
The phone rings. He rips it from the wall. J.J. falls to
his knees crying as he pounds his fists onto the floor.
J.J. sits back as sweat begins to pour down his brow. He's a
trapped animal and he knows it. He looks out the window and
sees the sun setting on the western horizon.
JOHNNY SR. (V.O.)
Johnny! Johnny, it's your paw.
J.J. wipes away the tears that are streaming down his face.
JOHN-JOHN
What are you doing here? I should have
finished you off. I should have killed
you when I had the chance. I suppose you
think I wanted this to happen? I suppose
you think I wanted the boy to get hurt?
Maybe you think I want him to die? Well
you're wrong. You're wrong once again.
EXT. COUNTRY STORE - CONTINUOUS
JOHNNY SR.
I don't believe you set out to do any
harm Johnny. Not to the boy, not to
anyone. This all just got out of hand.
INT. COUNTRY STORE - CONTINUOUS
J.J.'s eyes well up with tears.
JOHNNY SR. (V.O)
It's over Johnny. None of this would
have ever happened if I were the father I
should have been.
JOHN-JOHN
It's too late for all that now. I got me
a date with destiny and she's looking
purdier 'n' purdier by the minute.
EXT. COUNTRY STORE - CONTINUOUS
JOHNNY SR.
That isn't going to accomplish anything.
What happened to that boy of mine that
always stood up for what was right?
INT. COUNTRY STORE - CONTINUOUS
JOHN-JOHN
He's gone daddy. Long gone.
J.J. snaps one of the cartridges into the 9mm.
JOHNNY SR. (V.O.)
I'd say it's time he showed himself
again.
JOHN-JOHN
I didn't mean for all this to happen. I
just wanted to hurt you. I wanted to
hurt you like you hurt me and Ben.
EXT. COUNTRY STORE - CONTINUOUS
JOHNNY SR.
I know that. I wish I could make it all
better. Listen Johnny, I'll make a vow
before you and God almighty, if you come
on out right now, I promise you I'll take
good care of Ben. He'll have a good home
and the love he deserves. You got my
word.
JOHN-JOHN (V.O)
I guess I sure did it this time. Funny
thing that's not so funny is, I ended up
worse than you. But the truth of the
matter is now I have to answer for what I
done.
JOHNNY SR.
You know how they say, you can't never
teach old dogs new tricks. Well, this
ol' dog still has a lot to learn.
INT. COUNTRY STORE - CONTINUOUS
The sun peaks into the office.
Signs of fatigue in J.J. are evident. He slumps against the
desk playing with his gun.
BEN (V.O.)
John-John can we go home now?
JOHN-JOHN
Yeah, Ben. Time for you to go home.
J.J. watches as the flashes of the police lights cause a
strange swirling pattern bouncing off of the office walls.
He peeks out of the window and sees the sun sinking into the
mountains.
Slowly he starts his journey past the debris-scattered aisle
carrying the 9mm in his right hand.
EXT. COUNTRY STORE - CONTINUOUS
J.J. exits the country store.
YORK
(frantic)
Drop the gun!
UNCLE JIM
Hold your fire.
Every gun is fixed on J.J. Some of the firing pins can be
heard as they're snapped back into firing position.
YORK
Drop the gun now!
For what seems like an eternity J.J. walks toward his father
with the gun dangling at his side.
YORK (CONT'D)
Drop the gun!
UNCLE JIM
Don't nobody shoot! Damn it J.J. drop
the gun.
The sound of more firing pins being pulled back is heard.
UNCLE JIM (CONT'D)
Hold your fire. Hold your fire!
J.J. stops in front of his father almost face to face. He's
sobbing like a little kid.
Finally, he drops the gun and falls into his fathers arms.
He weeps terribly as Johnny Sr. pats him on the back.
JOHNNY SR.
(almost whispering)
It's over.
Bobby Joe races toward the gun and retrieves it.
BOBBY JOE
It wasn't loaded.
Uncle Jim breathes a sigh of relief as he drops his head.
The officers rush J.J. tearing him from his fathers arms and
toss him roughly to the ground. They cuff his hands behind
his back.
The cops grab Ben and attempt to cuff him while J.J. is
being dragged to a black and white.
JOHN-JOHN
(wailing)
He ain't got nothing to do with this.
YORK
Let him go.
The cops comply.
J.J. passes the ambulance where Billy is being worked on.
J.J. breaks free and runs to Billy's side.
JOHN-JOHN
Be strong little brother.
J.J. is grabbed again and thrown into the back of a cruiser.
The sound of a puppy crying is heard. Ben turns his
attention to the truck. He walks to the truck and pulls the
puppy from it.
BEN
(yelling to Billy as the
ambulance door is closing)
Don't worry Billy, I'll take good care of
your puppy.
The ambulance pulls away.
Uncle Jim takes Ben and leads him toward his car. Officer
Kelly opens the backseat door for Ben.
Johnny Sr. takes Uncle Jim by the arm and stops him.
JOHNNY SR.
A hospital ain't no place for a boy to
call home.
Uncle Jim understands. Johnny Sr. reaches out for Ben. Ben
takes his hand.
Uncle Jim enters the vehicle with Officer Kelly and they
drive off.
As Johnny Sr. and Ben turn to go, the cruiser that's
transporting J.J. begins to role.
J.J. watches Ben walk off with Johnny Sr. as the cruiser
carries him away.
FADE OUT.
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